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