“Cappella Romana is an ideal match for Pärt’s music.… This is a major Pärt recording that does not sound like any of the many others on the market.”
–James Manheim AllMusic
“here is pure Pärt. his sublime, distilled simplicity requiring and receiving total technical and emotional commitment.”
–Rebecca Tavener Choir & Organ
“saying that the Cappella Romana presentation of Pärt’s Odes of Repentance seems an ideal merger of composer and performers borders on cliché – which does not make the assertion any less true”
–Mark Estren InfoDad
“distinct from others of Pärt’s music”
–David Salazar OperaWire
“a moving litany of rarified and heightened choral expression… perfection in…each of these beautiful works”
–Grego Applegate-Edwards Classical-Modern Music
12 spellbinding tracks which give voice to the human yearning to be cleansed… the stars, the galaxies, all the wonders of a distant universe seem to touch us through the medium of sound.… this is an album of supreme artistry to cherish, heed, and enjoy.
–Linda Holt ConcertoNet
New York Times
‘Passion Week’…is on a scale with the great sacred works of Tchaikovsky and Rachmaninoff, though in a slightly more advanced idiom, and is quite simply beautiful.
an austere, inexorable, mesmerising Crucifixion liturgy told in the 8th-and-9th-century Byzantine chant that once resounded within Jerusalem's Church of the Holy Sepulchre, leading the listener through Christ's final earthly journey
it is hard not feel that the work this group is doing is not only presenting music that has a veneer of inaccessibility in a way that releases its particular beauty but also allowing it to bloom and continue to evolve
Listening to this CD especially during this Holy Week (2015) has brought it all back and the helpful diagram of the basilica of the Holy Sepulchre in the booklet reminds me of the astounding church which dominates the area.
there is much to savor in the beautiful harmonies and soaring melodies. Cappella Romana does this sort of thing better than anyone, and there is literally nothing to criticize from a technical standpoint.
Passion Week is one of the finest and most moving Orthodox settings that I’ve encountered and I’ve been excited by getting to know it. It’s particularly pleasing that this music should receive its first recording from such a fine choir: Cappella Romana have done Steinberg proud.
It takes a good deal of scholarly effort to reconstruct a program like this from manuscripts in various places (some are Armenian) and at various levels of notational detail. The result, though, is spectacular
Every so often a record comes along that changes the landscape of choral music… Such a beautiful work deserves the attention of the world. However, if it is going to capture the world’s attention it needs a vehicle, and I will be surprised if anyone can offer a better one than Cappella Romana’s new record anytime soon
Good Friday in Jerusalem is no exception to the level of quality that audiences have come to expect from Cappella Romana’s recordings; the singing on the disc is at once rich, incisive, alive, and achingly beautiful
There can be no questioning Kyr’s skill as a composer. Just listen to the first five minutes, as singers enter one-by-one — there are only eight — to the accompaniment of a single solitary cello… Speaking of the choir, the Cappella Romana here demonstrates why it has a devoted fan-base in the Pacific Northwest and, via records, across the globe. There is not a weak link or uninteresting voice among these eight singers
this new look at The Divine Liturgy of St. John Chrysostom is nothing short of ravishing. … We are very fortunate to have a choir like Cappella Romana to share this with us; the world is a better place as a result.
great religious music, really great religious music, touches us all through beauty, musical thought, and sincerity of purpose. Therefore, this project is not only a major statement of ecumenical ideals, but also a major musical statement.
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