A—Ky—Measured, chantlike, reverent, unhurried
A—Ch—Camilla Tilling; gentle, angelic, despite a little too much vibrato
A—Gl—Brisk, Joyous, uplifting; chorus handle melismas well
B—LT—Sarah Connolly; orchestra zesty, playful; soprano operatic, dramatic; one or the other should have adjusted, as overall sound is disconnected
A—Gr—Good chorale sound; churchy
A—DD—Smooth, integrated, harmonious; no battle; high note exchange particularly good
B—QT—Shortest; cakewalk, to be sure, but fast enough that it takes on sound of a chorale; no stagger, no pain
A—Qu—Lovely blending of voices; true ensemble singing; light mood, but not jolly
A—JC—Same
A—CSS—Bright, assertive; crisp voices; good brass and timpani; good climactic cadence
A—Cr—Light, homogeneous, flowing; crisp voices; might as well not have used Maunder’s brass and timpani, as they are severely curtailed; no chickens; a missed opportunity for a joyful noise vs. just a different approach, as “Credo” can’t be done badly
A—Et—Camilla Tilling; sweet, intimate love song, if a little louder than dreamy; tries to keep vibrato down; lovely tone; hits high notes cleanly; lovely cadenza
A—S—Dignified, reverent; builds to nice climax of voices, strings, and brass
A—H—Crisp, driving, joyous
A—B—Brisk, bouncy; good balance of voices, though all use so much vibrato, they sound like the same voice at different pitches; they sound serious; combination legato and detached strings at B—doesn’t work