Anne Boleyn's Songbook
Alamire, St. Martin-in-the-Fields

A touching reference to Anne’s troubles came with the anonymous “Venes regret, venes tous” and the concluding song (not from the songbook) “O Deathe rock me asleep”. This had the feel of a litany, with a descending 3-note motif and the sad refrain “For I must die; There is no remedye”. The excellent soloist in these, and several other pieces, was mezzo Martha McLorinan., February 2023

Written by Andrew Benson Wilson

Rachmaninov: Vespers
Tenebrae, St. Martin-in-the-fields

McLorinan in particular entered into the spirit of the work, her lovely, warm voice colouring the second movement with rich harmonies.

Seen and Heard International, January 2023

Written by John Rhodes

Live from London, The Feast of San Rocco, Venice 1608
i fagiolini, St Martin-in-the Fields

The solo STT trio of Martha McLorinan, Nicholas Mulroy and Matthew Long were precise and punchy, rising above the choral textures whose lively rhythms invited the instrumentalists to join in the fun…

The brassy opening, the brightness of McLorinan’s solo, the vigour of the massed voices and the accrual of solo and instrumental contributions created a muscular tapestry of joy- a rainbow of sound…

Here it was McLorinan who soared easefully, prefacing the massed forces’ fanfared Alleluias.

Opera Today, July 2022

Written by Claire Seymour

Purcell: Dido and Aeneas
La Nuova Musica, Royal Albert Hall

The cameo roles were luxury items… Madeleine Shaw sang a classy Sorceress… supported by Helen Charlston and Martha McLorinan.

Music OMH, July 2022

Written by Benjamin Poore

Philip Moore: Three Prayers of Dietrich Bonhoeffer
Tenebrae, Wigmore Hall

Unfolding from Martha McLorinan’s finely sung opening entreaty in ‘Morning Prayers’, semitonal petitions and comforting chords were allied to fervent expression., December 2021

Written by David Truslove

Byrd 1588 Psalmes, Sonets and songs of sadnes and pietie
Alamire double disc with Fretwork

The standout is mezzo Martha McLorinan, who deals admirably with “Lullaby, my sweet little baby” and “Come to me grief forever” – no mean feat, given how well known these are. In “Blessed is he that fears” the Lord she is calmly unaffected and yet affecting

Gramaphone, July 2021

Written by Fabrice Fitch

Byrd 1588 Psalmes, Sonets and songs of sadnes and pietie
Alamire double disc with Fretwork

Die Aufname ist tatsächlich kaum zu toppen. Grace Davidsons glasklarer Sopran, Martha McLorinans warmer Mezzosopran, Nicholas Todds schlanker Tenor und das stilistisch sattelfest, 2005 gegründete Vokalensemble Alamire unter der Leitung von David Skinner sowie das erfahrene britische Consort Fretwork, das in diesem Jahr sein 35jähriges Bestehen (mit welchselnder Besetzung) feiert, gewährleisten eine interpretatorische Qualität, die ein uneingeschränktes Vergnügen gewährt. Sofern Lieder von Traurigkeit und Mitgefühl Vergnügen bereiten können.

(The recording is hard to top. Grace Davidson’s glass-clear soprano, Martha McLorinan’s warm mezzo-soprano, Nicholas Todd’s thin tenor, and the stylistically saturated vocal ensemble Alamire founded in 2005, led by David Skinner, and the experienced British Consort of Fretwork which this year is celebrating its 35 year existence, guarantees an interpretative quality that gives an unreserved pleasure. If songs of sadness and compassion can give pleasure.), May 2021

Written by Thomas Rothschild

Byrd 1588 Psalmes, Sonets and songs of sadnes and pietie
Alamire and Fretwork for Inventa

It is a pleasure to report that everything about this double album is excellent. The music, the concept, the soloists, the ensembles and the recording quality are all outstanding… arguably the greatest song in the collection, the concluding lament for Sir Philip Sidney O that most rare breast sung here with controlled intensity by the mezzo Martha McLorinan., April 2021

Written by Richard Turbet

Byrd 1588 (Lullaby my sweet little baby)
Alamire double disc with Fretwork

Hearing it in this hypnotically beautiful version for solo voice and viols is special.

BBC Radio 3 Record Review, April 2021

Written by Andrew McGregor

Bingham: The Drowned Lovers
Tenebrae, City Recital Hall, Sydney

Perhaps the highlight of an exquisite concert was the pairing of Judith Bingham’s The Drowned Lovers with Stanford’s The Bluebird. Bingham conceived her piece as a prologue to Stanford’s impressionistic piece (written nearly 90 years before), and there were many textual and musical echoes between the two. The ululating backdrop from the choir was perfectly graduated to allow mezzo-soprano Martha McLorinan to come through as a rich lyrical presence… Without question this was one of the most atmospheric and well-conceived choral concerts in Sydney in recent years., January 2020

Written by David Larkin