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
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
Unfolding from Martha McLorinan’s finely sung opening entreaty in ‘Morning Prayers’, semitonal petitions and comforting chords were allied to fervent expression.
Operatoday.com, December 2021
Written by David Truslove
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
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.)
kultura-extra.de, May 2021
Written by Thomas Rothschild
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.
earlymusicreview.com, April 2021
Written by Richard Turbet
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
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.
bachtrack.com, January 2020
Written by David Larkin
A highlight of the programme was The Drowned Lovers, a vivid work- featuring the dark, plangent Mezzo of soloist Martha McLorinan- by Judith Bingham.
Limelight, January 2020
Written by Angus McPherson
Lawrence White was soloist in that movement, a superb example of Skidmore’s policy of drawing vocal soloists from within his choral forces. Another, among many, was Martha McLorinan, with her sorrowing, Pieta-like “Agnus Dei”.
midlandsmusicreviews.com, December 2019
Written by Christopher Morley