Early Music America (Summer 2007)
One of those alchemic discs with a total greater than the sum of its parts… This is as near-perfect a recording as you will find of this repertoire, and one that sounds as fresh as the Tallis Scholars did 25 years ago.
Choir and Organ (April 2007)
These polyphonic settings, true “songs of the night”, glow with a mystical radiance, whose most poetic nuances are captured by the young vocal ensemble Stile Antico… One is struck by the maturity and acute sensitivity of this interpretation… Stile Antico demonstrate a joy in their singing which is literally euphoric.
Marc Desmet, Monde de la Musique (February 2007)
Debut recordings rarely come as impressive as this… Stile Antico have a future as bright as their pure and crystalline soprano sound.
Elizabeth Roche, The Daily Telegraph (3 March, 2007)
This is superb choral singing that stands out from the crowd of recordings of unaccompanied English music of the sixteenth century.
James Manheim, AllMusic
This is a beautiful disc, rendered with dignity, purity, and understanding.
Jay Nordlinger, New York Sun (16 January, 2007)
The members of Stile Antico demonstrate the immaculate ensemble work and balance of better-known groups — remarkably, since they sing without a conductor — but their sound is richer and more deeply hued.
David Weininger, The Boston Globe (16 March, 2007)
This is superb singing that’s also blessed – I mean that literally – with profound delicacy and reverence. You sense the group is singing for its own spiritual good, with a combination of relaxed, introspective tempos and inner conviction.
David Patrick Stearns, The Philadelphia Inquirer (11 February, 2007)
On its first recording for Harmonia Mundi, the young British vocal ensemble Stile Antico reaches the very highest level. Their performance achieves a perfect balance between polyphonic clarity and sense of colour. Breathing as one, the members of Stile Antico give an ideal luminosity to their singing… Indispensable.
Jean-Jacques Millo, Opus Haute Définition (30 January, 2007)
With a magnificent tonal palette and bold choices of dynamics, the interpretation is remarkably cohesive and inventive… At the close of this rich office, the spell is such that we are convinced, in the words of Baudelaire, the twilight poet par excellence, that “the world falls asleep in a warm light”.
David Fiala, Diapason (February 2007)