In Leipzig we have several excellent choirs, not only the Thomanerchor. We hear many visiting choirs, but not many come up to our standard. The Australian Chamber Choir did.

Ulrich Böhme, Organist, Thomaskirche Leipzig (Endorsement), September 22, 2011

… the sound produced by this ensemble was quite simply phenomenal: flawless intonation, superb uniformity, perfect tonal balance, astounding dynamic range and sleek voice-leading. An Ave verum of William Byrd convinced through its heavenly ethereal sound. … Read more

Guido Krawinkel in General-Anzeiger, Bonn, July 23, 2011

For me it was a great pleasure to have this wonderful choir here in Thomaschurch as our guests. The concert and service were magnificent. Not many choirs touch the heart; this was one such choir. I hope that we will have the possibility for the Australian Chamber Choir to return to Leipzig.

Gudrun Hartmann: Office for Church Music, Thomaskirche, Leipzig (Endorsement), July 21, 2011

The young ensemble under the direction of Douglas Lawrence began softly with Schütz’s tender motet: Selig sind die Toten (Blessed are the Dead) in German and convincing with their homogeneous sound in further sacred works by Byrd and in the radiant Jubilate Deo of Gabrieli. … Read more

Anja Jaskowski in Leipziger Volkszeitung July 19, 2011, July 19, 2011

The Australian Chamber Choir: small in number but great in voice, sensitive and vocally perfect. …

Conductor Douglas Lawrence has created an ensemble that sings with utmost precision and utmost sensitivity, possessing a perfectly balanced choral sound. …

Already the first piece “Selig sind die Toten” (Blessed are the Dead) by Heinrich Schütz (1585-1672) hovered weightlessly in the space of the nave, wholly in the spirit of the text. “Factum est silentium” by Richard Dering (1585-1672) worked a dense polyphony into a perfectly-weighted structure, in which the voices swung to and fro like bells.

… Read more

Schwäbischer Zeitung, July 11, 2011

In J.S. Bach’s motet Jesu meine Freude one could clearly recognize director Douglas Lawrence’s penetrating interpretation, the musical shape strictly governed by the text, endowing the recurrent main melody with interesting variants. On an emotional level the gently blended voices and their balanced distribution often lent the text additional inner meaning …

… it was especially gratifying that these professionally trained, mostly young singers were met by a large audience in Ries. … Read more

Ernst Meyer in Augsburger Allgemeine, July 10, 2011


The modern works “Lamentations” (Hodgson), “Magnum mysterium” (Kristof) and “O sacrum convivium” (Messiaen) all portrayed a highly effective sonic magic. … Read more

Mathias Nofzer in General Anzeiger, Bonn, July 11, 2009

… resounding jubilation burst forth in Orlando Gibbons’ anthem “O Clap Your Hands”, considered one of the greatest treasures of Anglican sacred music. The women’s precise, treble-like intonation was carefully balanced with the full-bodied tenors and sonorous basses, and together they gloried vociferously in the mighty polyphony of the work. … Read more

Darmstädter Echo, July 2009, July 10, 2009

New choir delivers powerfully

…the final pages of the ACC’s vital reading of Bach’s Singet dem Herrn: choral work of the top rank, as lucidly articluated as you could desire, the bustling interweaving of eight lines coming across in this revealing acoustic with impressive purpose and intonational fidelity.

The evening’s major work, Missa Papae Marcelli, displayed the choir’s fluency and suave textural colouring … the whole effect both intimate and declamatory …

Click on the following link to read the review in its entirety: The Age Review 2007

Clive O’Connell on INAUGURAL CONCERT in The Age, November 24, 2007

Brenton Broadstock’s I had a dream … sets out a three-part elegy in haunting consonantal language, rising to an aggressive climax in the work’s central questioning stages and achieving a throat-tightening power in its final soft repetitions of the line “I am remembered”, here delivered with tactful understatement.

Click on the following link to read the review in its entirety: The Age Review 2007

Clive O’Connell in The Age, November 24, 2007

Flawless Intonation and Dynamics

The name Douglas Lawrence stands for excellence in choral offerings: flawless intonation, clear counterpoint and nuanced dynamics from a moving piano to a powerful forte. This combined with the cultivation of the choristers’ individual voices; each can blend perfectly with the choral sound and also step forward as an impeccable soloist. … Read more

Augsburger Allgemeine, August 2007, August 2, 2007

Thanks to the expressiveness of the singing, Brenton Broadstock’s I had a dream became a most beautiful experience.

Hans Krarup: July 23, 2007

Click the following link to read the original review in its entirety: Berlingske Tidende 2007 Review

Hans Krarup in Berlingske Tidende 2007, July 23, 2007

Highpoint of the Summer Concert Series

 – Australian Chamber Choir in the Ludgeri

On Monday the Australian Chamber Choir were guest performers at the Ludgeri Church and inspired a large audience with the finest choral music. The 20 young singers from Melbourne, currently on a 20-concert tour of Europe had packed a varied program from Renaissance to Gospel. This young ensemble, in a purely a-capella program was powerfully convincing under their director, Douglas Lawrence, with enormous dynamic contrast and power, voice-leading always balanced and a flawless intonation – no mean feat! Ostfriesischer Kurier July 2007, July 19, 2007

There are days when something of heaven seems to touch the earth. Thank you for giving us just one of those such days.

Private: Stefan Wegener: Presenter, Saturday Concerts, Kaiser-Wilhelm-Gedächtniß-Kirche, Berlin (Endorsement), July 14, 2007



International Pathways 10. Our Profile in Europe, November 29, 2006

Back to the top of this page