A New Venetian Coronation

“…It’s a marvellous achievement, incorporating the rapturous choral polyphony of Andrea and Giovanni Gabrieli interspersed with passages of organ and period-instrument arrangements of cornets, sackbuts and shawms. It’s never less than enthralling, especially the length opening ‘procession’…”The Independent

“…Pitch perfect…”The Independent on Sunday

“…This is a hugely charismatic and colourful coronation, and one of those recordings where it’s hard to stop inching up the volume control. McCreesh’s new take on his classic recording is a triumph and even more vivid than the first … Highly recommended to both first and second time buyers, and on track to inspire yet another generation…”International Record Review

“…an excellent hour and ten minutes’ worth of delightful music played with great style. It’s also sufficiently distinct from the earlier CD to be worth buying in its own right … music-making of the highest order … it’s hard to imagine anyone remaining unmoved or not uplifted by this music…”MusicWeb International

“Comparisons with the 1990 recording are inevitable, and it is interesting to hear how good that recording was. The performances here have an extra feel of certainty and confidence – including the confidence not to be heard necessarily as an individual (singer) but to allow the ensemble and entire shape to carry the drama. … The result truly befits a coronation at arguably the artistic peak in the history of Venice. Make sure to set the time aside to hear this wonderful performance – or rather event – in one sitting…”Early Music Today

“Even if you own the classic Virgin disc, this new version is a must-buy.”The Sunday Times

“It’s all delicious … It’s absolutely tremendous…”BBC Radio 3 CD Review

“…Andrea’s vocal music is still solemn and effortlessly beautiful, and Giovanni’s Omnes Gentes still blows you away … The many who treasure that first recording should feel no need to discard it; but this second, with its new wisdoms and refinements, certainly has its place…”The Gramophone

“…this is a marvellously handled recording conjuring up a ‘live’ event that is greatly aided by the opening bell-ringing and the ethereal spacious surround of the chanting. Musically the stars of the show are the works composed by the Gabrielis, uncle and son…”Performance – Five Stars; Recording – Five Stars BBC Music Magazine

“…this is a fascinating and musically captivating aural journey to a city whose splendour was impressively illustrated by the splendour of its music…”Music Web International

“…The 50 seconds of solitary bell chimes that open the original now sounds downbeat incomparison with the eight-minute riot of festive pealing and anticipatory crowd hubbub which ushers in this remake. … Once inside … the distractions disappear. The occasional swish of incense dispersal or hand bell chimes are the only interior sound effects, enhancing the ceremonial atmosphere without impinging on the liturgical plainchant, florid organ voluntaries, majestic trumpet fanfares, opulent brass canzonas, and rich choral singing…”BBC Music Online

“…the atmosphere is imaginatively evoked with bells, wonderfully effective spatial effects and throughout a lively sense of occasion whose spirit is resonantly captured in the beautiful acoustic … all is performed with refined attention to the smallest detail and with affective fervour.”Early Music Today

“…The sound is splendid, as is the documentation. This project offers an exhilarating and stimulating way to experience the musical glories of Renaissance Venice … The performances here are the product of considerable scholarship. However, the scholarship is worn lightly. There’s a tremendous vitality and joyfulness to the proceedings…”Music Web International

“…all is performed with refined attention to the smallest detail and with affective fervour.”Classical Music Magazine

“With singers, sackbuts and cornetts deployed in ever-changing arrays above and about the audience, McCreesh ensured that no antiphonal possibility was ignored. The sequence of plainsong, choral numbers and instrumental toccatas, canzonas and sonatas followed the plan of the liturgy known to have been used for such coronations, though some of the music chosen by McCreesh was inevitably speculative … All absolutely fascinating, and wonderfully played by the instrumentalists and all-male choir of the Gabrieli Consort.”The Guardian

“Close your eyes and it's close to time travel … A glorious and exciting event; played marvellously by the brass, keyboards and lone fiddle, directed with character and drive by McCreesh, and sung beautifully by the choir and soloists.”The Independent on Sunday