Das Fließende Ineinander von Solo- und Chorgesang ergibt vielfältige Abstufungen swischen großem, prachtvollem Klang in den Tutti und und Seelenvollem, leidenschaftlichem Ausdruck in den Soli. Charlotte Shaw und Martha McLorinan, Matthew Long und Matthew Brook glänzen mit lebendiger Genauigkeit ganz im Dienst der großen Sache, ohne aufgesetzte Attitüde.
(The flowing intertwining of solo and choral singing results in a variety of gradations between great magnificent sound in the tutti and soulful, passionate expression in the solos. Charlotte Shaw, Martha McLorinan, Matthew Long and Matthew Brook shine with vivid accuracy in service of the great thing, without a set attitude.)
Bürstädter Zeitung, August 2019
Written by Dietrich Stern
The second movement, ‘Bless the Lord, O my soul’ introduced us to the mezzo soloist, Martha McLorinan. I remember that at last year’s Three Choirs Festival, singing with Tenebrae, she took the crucial solo role in Judith Bingham’s ‘A Walk with Ivor Gurney’. She impressed me then and here, in a very different musical context, I admired her singing once again. Her tone was lustrous, and she voiced the music in a gently expressive way that was entirely appropriate.
seenandheard-international.com, July 2019
Written by John Quinn
The alto aria “Erbarme dich” was sung superbly by Martha McLorinan, who beautifully conveyed the deep sorrow of the text, and the solo violin passage which opens the aria was given a gorgeous fluidity from Orchestra 1 leader Lucy Russell.
The Artsdesk, April 2019
Written by Miranda Heggie
Soloists Charles Daniels, Marcus Farnsworth and Martha McLorinan were outstanding… Martha McLorinan- singing the first alto solos- had a warm expressivity notably in the aria Erbarme Dich
The Guardian, April 2019
Written by Rian Evans
The alto soloist, Martha McLorinan, with a richly glowing tone, had a touching Aztec cradle song- a moving interpolation; and nurtured finely the lilting setting of a tragic mini-ballad by Mary Coleridge.
The Church Times, February 2019
Written by Roderick Dunnet
Lucy Crowe, with honeyed tone and impeccable control, brought Belinda to life, and Edward Grint, on top form and ably supported by two malevolent witches (Martha McLorinan and Anna Harvey) and a cackling choir, cast his spells with just the right element of pantomime evil.
seenandheardinternational.com, February 2019
Written by Chris Sallon
Roles were such dependably pristine singers as Lucy Crowe, Miriam Allan, Benjamin Appl and, particularly, Edward Grint, Martha McLorinan and Anna Harvey as a clearly transgender Sorceress and his/her devilish little helpers.
The Times, February 2019
Written by Richard Morrison
A special mention must go to Miriam Allan and Martha McLorinan… as Second Woman and First Witch, conveying meaningful and confident performances… Edward Grint as the Sorceress was satisfyingly evil, as were the two witches who were deliciously malicious, with strong accurate singing from all three.
Bachtrack, January 2019
Written by Mark Thomas
Led by a solo mezzo-soprano- a step-out from the choir by a fearless Martha McLorinan.
theartsdesk.com, July 2018
Written by David Benedict
Judith Bingham’s very chromatic “A Walk with Ivor Gurney” concentrated on women’s voices and featured a superb solo from mezzo-soprano Martha McLorinan.
Hereford Times, July 2018
Written by Peter Fletcher