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This highly important [Peterhouse recording] project, one of the most important early choral projects of our time, has unearthed a series of masterly composers hitherto virtually unknown...Such is the authority of Scott Metcalfe and his singers with this repertoire that they negotiate even the most daringly challenging and unexpected passages with utter confidence, and, as previously, with a delicious blend of expressiveness and seemingly inexorable forward momentum.
D. James Ross, Early Music Review (UK)
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a revelation - fresh, dynamic and vibrant...urgent and wondrous music-making of the highest order
Damian Fowler, Gramophone (UK)
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fine gradations of dynamics; pungent diction; telling contrasts of ethereal and earthly timbres; tempos that are more lusty than languid; a way of propelling a phrase toward a goal. ... The singing is both precise and fluid, immaculate and alive...
Alex Ross, The New Yorker
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A listener then would have been lucky to hear these works brought off with such panache. The program is by turns pensive and lively, and the scholarship required to evoke stylistic accuracy is put totally at the service of performance.
David Allen, The New York Times
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I feel privileged to be able to revel in such a subtle shaped set of performances... This is the kind of recording that makes you sit up and pay attention.. There is plenty that is memorable here, and always the anticipation of something juicy to relish just around the corner. You can't ask much more than that from a CD.
Dominy Clements, MusicWeb International
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The earthy sensuousness of Blue Heron's singing coupled with the curatorial care behind its programming have clearly earned the trust of audiences
Jeremy Eichler, The Boston Globe
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But Blue Heron’s devotion to this repertory — the ensemble has recorded five albums of music from the Peterhouse Partbooks — is not justified only by its rarity. This is vivid and radiant music. ...
... With two or three singers to a part and women stepping into the shoes of boy choristers, Blue Heron brings a zesty and sensual sound to these works of devotional music.
Corinna da Fonseca-Wollheim, The New York Times
