Rachmaninov: Vespers
Ex Cathedra, Birmingham Town Hall

Blagoslovi dushe moya was articulated with a hushed tone of reverence- mezzo Martha McLorinan skilfully managing to project while also maintaining this attitude- culminating in a beautifully polarised music.

bachtrack, October 2023

Written by Simon Cummings

Elgar: The Apostles
Three Choirs Festival Chorus and The Philharmonia, Gloucester Cathedral

Martha McLorinan produced some lovely singing.

Seen and heard international, July 2023

Written by John Quinn

Elgar: The Apostles
Three Choirs Festival Chorus and The Philharmonia, Gloucester Cathedral

Martha McLorinan… assumed considerable stature throughout the work

Bachtrack, July 2023

Written by Simon Cummings

Bach: St. Matthew Passion
Ex Cathedra, Birmingham Symphony Hall

Alto Martha McLorinan seamlessly continued from Bradley Smith’s distressing account of Peter’s weeping with an emotionally-charged “Erbarme dich”

Bachtrack, April 2023

Written by Simon Cummings

Verdi: Requiem
Lewisham Choral Society, Hackney singer and London Mozart Players, Royal Festival Hall

The Recordare duet, for example, was enchanting (particularly the “just touching the notes” in “quaerens me”)… McLorinan’s opening numbers (particularly Liber Scriptus) were opulently delivered: plenty of rich fruit in the lower register, and a harder, but focused edge at the top.

Music OMH, April 2023

Written by Barry Creasy

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.

Andrewbensonwilson.org, 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.

Operatoday.com, December 2021

Written by David Truslove