Bachtrack 30/03/2024: Bach to basics: The Academy of Ancient Music performs the St Matthew Passion
…Cummings directed the AAM from the harpsichord with steady tempi that supported and never overstretched his singers. These instrumentalists form a highly skilled ensemble of course, with the leaders of both violin groups, Bojan Čičić and Julia Kuhn, offering eloquent solos. But then the AAM’s characteristic sound is always a delight. Roy Westbrook – Review in full
Planethugill 29/03/2024: Moving intimacy and sense of communication: Bach's St Matthew Passion from the Academy of Ancient Music, music director Laurence Cummings and just eight singers
…As part of the orchestra's 50th anniversary season, the Academy of Ancient Music and music director Laurence Cummings gathered at the Barbican on 29 March 2024 with just eight singers to perform Bach's St Matthew Passion in its 1727 version. ….
There were fourteen players in each orchestra, with Laurence Cummings directing from the organ in orchestra one, whilst he and Alastair Ross (organist in orchestra two) shared harpsichord duties. Cummings took an almost leisurely approach to the opening chorus, giving the music plenty of space. The whole felt gentle, yet with a strength to it and there was a remarkable intimacy to having just eight singers, who brought a remarkable range of colours to the performance. ….
The instrumental contribution had a similar intimacy to it, individual performers pairing with the soloists to create a sense of large-scale chamber music. This was a long way from the orchestral version of the work yet there was a strength to the performance, full of character that filled the hall.
Cummings' approach to the work felt relaxed, allowing space for everything to happen rather than forcing the drama. It was innately expressive with great intimacy and strong emphasis on the words. Robert Hugill – Review in full
Bachtrack 31/01/2024 : A joyful celebration of Bach: the AAM plays the Brandenburgs at Milton Court
Bach Brandenburg Concertos - …They demand huge amounts of balance between soloists and orchestra, as the concertos swell between ferocious ensemble work and delicate technical individual sections. Vivaciously directed by Laurence Cummings from the harpsichord, the AAM’s rendition of all six concertos in one evening at Milton Court wassd complex, with the string section deftly handling the speedy notation to a rousing finish. Rachel Brown and Rachel Beckett were brilliant on the recorders in the Fourth Concerto, playing perkily over a decisive ripiena and then in a fiddly duet with the violin. This concerto saw the AAM at its finest, with the strings playing ferociously through long sections of intricate composition.
Taking centre stage with the transverse flute and violin, Cummings was effervescent in his harpsichord solo in the Fifth. The trio’s Affettuoso was careful and touching; the jig of the Allegro was vibrant and light. …
The Academy presented all six concertos with verve and talent. Playing a tone lower than normal concert pitch, the ensemble was able to conjure sonorous walls of sound, in a deeper quality than we might be used to – with pleasing effect. These fine pieces were played with real joy. Susannah Moody – Review in full
Ritmo January 2024 – Infinite Refrain - *****
… Quien escuche el disco se fasinara por todo el remillete de sensaciones amorosas que contiene, interpretadas magistralmente. La Academy of Ancient Music sustenta de un modo vehemente y preciosista unas interpretaciones donde el texto, el recitar cantando y las pasiones de los poemas de los libretistag fluyen, se transmiten y hacen sonar y sumergirnos en la deliciosa liberta de la Venecia desl Seicento. Simon Andueza
Seen & Heard-Int 25/11/2023 : AAM’s revelatory, richly satisfying, Command Performance: Music for an Empress
Haydn’s Symphony No.48 - … The level of accuracy was stratospherically high (if not 100% – they are human, after all), and Haydn’s demands are crippling on the lips. The opening Allegro buzzed with energy from all quarters – even more so on the repeat of the exposition. The Adagio (slow movement) was the perfect contrast (the horns working together as one superb unit here, Haydn’s writing referencing their hunting origins in the intervals used, but turning the whole into supreme grace, Interesting how Haydn takes the listeners to some surprisingly dark places not in the slow movement, but in the Menuetto. The bustling, animated finale was more determined than anything resembling buffa; it contains some remarkable changes of mood, all expertly negotiated by the AAM players. Cummings directed superbly from a double-manual harpsichord.
Sinfonia from Hasse’s Ruggiero - … What a great piece – and what a vigorous performance.
A revelatory evening, … Colin Clarke – Review in full
Bachtrack 24/08/2023 : Cummings and the AAM bring the house down with Samson at the BBC Proms
…, the band were on fine form, with especially lithe strings. Cummings controlled their dynamics skillfully, switching deftly between fuller support for the chorus, and a lighter touch for the soloists. A consistently energetic presence, he commanded the combined forces with enthusiasm, making for a memorably magnificent performance. Nick Boston – Review in full
Andrew Benson-Wilson Early Music Reviews 11/05/2023 : Academy of Ancient Music: Il Trionfo del Tempo
…Usually translated as The Triumph of Time and Disillusion, the alternative option of Time and Enlightenment was used for this excellent performance from the Academy of Ancient Music.
…The always excellent instrumentalists of The Academy of Ancient Music also included special moments from Bojan Čičić and Persephone Gibbs, violins, Sarah McMahon, cello, Joel Raymond and Oonagh Lee, oboes. Laurence Cummings direction was compelling and insightful, if occasionally a little rapid…. Andrew Benson-Wilson – Review in full
Cambridge Independent 11/05/2023 : ‘Tis Nature’s Voice
…, the 21 year-old composer’s ear for sonorities, his gaps and silences and breathtaking changes of texture, were flawlessly performed as ever by the Academy of Ancient Music with its distinguished quartet of voices. …This concert, outstanding in so many ways, begs the question of why Il Trionfo Del Tempo is comparatively so rarely performed. West Road’s capacity audience on Wednesday evening roared its appreciation. And with every justification. John Gilroy – Review in full
Planethugill.com 10/03/2023 : Sending everyone away with a smile: AAM in Purcell and Locke
An imaginative programme paired one of Purcell's large-scale masterworks with a theatrical sequence from a joint-effort Shakespeare adaptation, all lifted by engaging, rhythmically alert and colourful performances
Last night (9 March 2023) at Milton Court Concert Hall, Laurence Cummings and the Academy of Ancient Music (AAM) gave us a feast of last 17th-century English music. …
..The opening symphony, with its trumpets and drums, was indeed very grand, yet imaginative too and Cummings and his players gave us music that was alert to the lively rhythms and full of changes of instrumental timbre. …
This was a performance that mixed grandeur and intimacy, always rhythmically alert and with a fine array of soloists standing out from the choir, as would have been the case. This was a substantial yet engaging evening that made these tricky late-17th-century pieces work in a modern context, and sent everyone away with a smile on their faces. Robert Hugill – Review in full
The Classic Review 10/03/2023 : CD Mozart – Piano Concertos 21 & 24 – Levin, AAM, Egarr
… AAM’s resplendent string and brass sections make for a vibrant and commanding introduction. The winds bring charm and elegance, with seamless melodic handoffs between flute and oboe (0’54”). …
In the second movement, Levin again adds some doublings, this time with low-string pizzicatos that gently emphasize the rhythmic swing. AAM is stellar here in a nuanced approach that reveals elements not often heard on other versions, as on the beautiful dissonances and suspensions around the 0’38” mark. … Azusa Ueno - Review in full
Seenandheard-int 19/12/2022 : Messiah from Cummings and the AAM at the Barbican was every shade of right
… the superb (and small) chorus of the Academy of Ancient Music provided the ultimate in clarity. The choir’s sopranos, in particular, delivered Handel’s tricky lines (that ever-ascending ‘King of Kings’ for example, or ‘And He shall purify’) with ease; semiquavers throughout were of perfect accuracy. ‘For unto us a child is born’ was positively vibrant; the sprightly ‘Pifa’ (Pastoral Symphony) that follows the perfect orchestral reaction. Cummings’s speeds were often on the swift (but never rushed) side; it was more like this Messiah was lit by a continuous stream of electricity. Colin Clarke – Review in full
Seen & heard-int 6/10/2022 : AAM’s The Seasons at the Barbican was a supreme affirmation of Haydn’s masterpiece
…Before we get to the soloists, praise should be heaped on the AAM (chorus and orchestra), perhaps particularly the hunting (natural horn) for negotiating their invocations supremely well; and also for the use of a fortepiano (Alastair Ross), centrally placed and facing the conductor, in recitatives and elsewhere. This choice ’placed’ the music beautifully. The Chorus, too, was impeccably drilled, particularly in the post-Handelian fugal passages. Cummings’s understanding of Haydn’s score is complete, his tempos beautifully chosen; it is a long evening, but Haydn’s music shines brightly, its invention unflagging. A supreme affirmation of Haydn’s masterpiece; a most memorable evening. Colin Clarke – Review in full
Andrew Benson-Wilson 6/07/2022 : AAM New Worlds: Genius – Mozart
…Laurence Cumming’s made several key contributions in this opening piece which were key to his excellent interpretation. … Key to Cumming’s interpretation throughout was his attention to the details of phrasing and articulation which, combined with the distinctive tone of the period instruments of the AAM, made for a musically outstanding performance.
The Jupiter Symphony (No 41) - …It was given an exhilarating performance by Cummings, ….
This whole programme is being recorded for release later this year. It will be well worth a listen. Andrew Benson-Wilson - Review in full
Gramophone September 2021 - Gramophone Classical Music Awards 2021: The Recording Category Winners Revealed!
… Dussek himself could scarcely have hoped for a performance as fine as this one, with the Academy on top form, a well-drilled choir of 20 clearly in thrall to Egarr’s infectious enthusiasm for the work and four finely matched soloists imparting plenty of personality. … It’s a fascinating work and an important project, impressively recorded, exquisitely presented and enthusiastically recommended. David Threasher – Review
Bachtrack 30/09/2021 : Haydn's Creation launches Laurence Cummings' tenure at the AAM helm
..A significant aspect of the event was that it represented conductor Laurence Cummings’ first appearance as the artistic director of the Academy of Ancient Music. … Given his perfectionist approach, but with attention to meaning and feeling and a deep engagement with 18th-century music, his new role could hardly fail to achieve great success with the AAM and this concert confirmed that expectation. The period instrument orchestra played with precision and brilliance in all departments. Mention must be made of the lovely flute work from Rachel Brown, especially in Gabriel’s “On mighty pens uplifted”, and Uriel’s recitative “In rosy mantle” heralding the arrival of Adam and Eve. The choir was sprightly and well-coordinated, but seemed to lack clarity at times. Sandra Bowdler – Review in full
Resmusica 2/06/2021 : Semele de John Eccles selon Academy of Ancient Music
…Pour l’interprétation, l’Academy of Ancient Music confirme être l’une des meilleures phalanges « historiquement informées ». La baguette de Julian Perkins témoigne d’un sens raffiné du tempo et de nuances dynamiques. Grâce à une remarquable transparence des textures, une légère souplesse agogique et la finesse des attaques dans les cordes, le mouvement se pare d’une éloquence à la fois passionnée et poétique, mettant en valeur les rythmes et la beauté des lignes. Pour les airs, l’accompagnement se montre parfaitement adapté à la respiration des solistes, favorisant théâtralité et cohérence narrative.…Un album particulièrement intéressant pour les amoureux de l’opéra baroque. Maciej Chiżyński - Article
Cambridge Independent 24/05/2021 : Harmoniemusik: From field to table
Divertimento (K270) of Mozart - …The AAM’s period instruments provided a true authentic sound, well adapted to the melodic liveliness of the playful exchanges, dialogue and interplay between pairs of musicians.
Sextet Op. 71. The music in AAM’s delivery seemed to flow effortlessly in its reflection of Beethoven’s conception, from the two calls or statements at the beginning of the work, through its lovely Adagio, to a joyful galloping conclusion.
The Partita in F Major Op. 73 by Franz Krommer - …The performance of this Partita brought the whole complement of musicians together in a work which gave ample opportunity for display to each instrument, including the double-bass replacing the part of contra-bassoon.
The jauntiness of the final movement, Alla Polacco (‘In the Polish style’), was infectious, reflecting perhaps the low-brow, folky origins of what was destined to evolve later into a more high-brow manner akin to that of chamber music…. The AAM’s inclusion of him in their delightful programme was a revelation. John Gilroy - Review in full
Seen & Heard-International 22/05/2021 : AAM’s Harmoniemusik: From field to table - Harmoniemusik is a life-enhancing concert from the Academy of Ancient Music in Cambridge
Mozart’s Divertimento in B flat, K 270 - …For all the deceptive simplicity of this music, including the pronounced gentilité of the Menuetto, there are perilous moments for all concerned; and it is all credit to the Academy of Ancient Music players that all emerged so naturally and easily; …
Fabulous to hear a Duo by Beethoven, one of his smaller works. Katherine Spencer and Peter Whelan were the superbly attuned performers here. Playful and resourceful, there is dialogue aplenty between the players. Lovely to hear the slightly acidic bassoon sound on the authentic instrument, some lovely playfulness in the finale, too. ….
Finally, some Krommer, with its contrabasson part played on double bass. … As such the tutti sound was wonderfully solid because Krommer delights in the individual strengths of each instrument. The sheer jauntiness of much of this music is positively medicinal, Leo Duarte’s oboe in particular exuded character. The finale is an ‘alla polacca’, here as joyous and as playful (and as infectious) as can be.
A fabulous performance to crown a life-enhancing concert. The splendour of the AAM players has never been in doubt, but how lovely to hear the wind and horns spotlit like this. Colin Clarke - Review in full
Seen & Heard International 16/08/2020 : Glories of the Baroque: the AAM at London’s VOCES8 Centre
… Live from London brings the full experience the internet can offer, with interviews by Barnaby Smith with oboist Leo Duarte, principal viola Jane Rogers, and Egarr himself.
Bach’s G minor Keyboard Concerto - …How imaginative, too, were Egarr’s improvisations, how flexible his lines in the slow movement. The finale had huge life, not least in Egarr’s legerdemain and his ability to pinpoint the progressive side of the score.
The Concerto for Two Cellos is unique in that combination in Vivaldi’s output, performed here by the two principal cellos of the AAM. …The performance here was, quite rightly, abuzz with energy, …
… The clean tuning in the upper reaches of the cello was noteworthy …
The AAM’s leader, Bojan Čečič, talks about Vivaldi’s influence on Bach before playing – for his first time – Bach’s A minor Concerto in a performance of great rigour and with superb communication between soloist and ensemble (mediated by Egarr). …, it was the sense of drama that impressed in this last movement.
Nice to have part of the Overture to Solomon in a gloriously lively performance preceding Alessandro Marcello’s D minor Oboe Concerto. … The slow movement was in many ways the highlight of the concert, the rounded sound of the Baroque oboe ‘s ruminations perfectly placed against the slowly pulsating string background. Not without reminders of the perilous nature of original instrument performance, this remained a profound experience, brightened by the effervescence of the finale (Egarr’s audacious harpsichord descents a delight). Colin Clarke – Review in full
Classicalsource.com April 2020 : CD Handel’s Brockes Passion – Academy of Ancient Music/Richard Egarr [AAM]
…Richard Egarr’s account with the Academy of Ancient Music is generally lucid and alert, shot through with a subtle dramatic impetus and tension which instil a narrative urgency to the performance overall. The Choir of the AAM combine sinuously with the orchestra to perform the through-composed choruses with a nimble, lilting movement, and the chorales in a more emphatic, punchy manner which has the effect of prompting the listener at those points which interrupt the narrative recitation and call upon a devout audience to take part in what are, effectively, hymns.
…The performance, too, sets a new standard in the admittedly small discography of the setting, which is only matched by the broader, older recording by August Wenziger and the Schola Cantorim Basiliensis for those who prefer modern instruments. If Egarr’s achievement does not raise the profile of this obscure but rewarding work afresh, it is unlikely that anything else will. Curtis Rogers – Review in full
Seen & heard-international.com 5/10/2019 : Richard Egarr and his AAM forces open their 2019-20 season with Dussek and Beethoven
Dussek – Mass in G major - …The introduction to the ‘Kyrie’ set the tone for the quality of the composition as well as for the artistry of the AAM. Gentle baroque string playing (on gut strings) prepared the choir’s entrance, followed by the pair of natural horns. The introduction to the ‘Christe’ section was played by violas and cellos; the violas are very important and often exposed in this Mass. AAM violas have put all viola jokes to bed, they played heart-warmingly beautifully.
Beethoven – Egmont, complete incidental music, Op.84 - …There was no lack of drama in the musical delivery of Egmont. From the highly spirited rendering of the Overture, conductor and orchestra gave us beauty and excitement. A very musical oboe solo (fifth movement), exquisite orchestral pianissimos (seventh movement), a sustained timpani solo to allow time for the delivery of the narrative towards the end of the story, and heroic trumpets and horns (final movement) provided extra icing on the musical cake. …., conductor Egarr and his AAM team did justice to Egmont. Agnes Kory – Review in full
Musicomh.com 22/04/2019: Handel’s Brockes-Passion @ Barbican Hall, London
“This was a superb performance from the AAM… from the chorus, who layered their various lines extremely well, to the oboe playing of Leo Duarte that accompanied many arias, there were delights at every turn… it is highly likely that AAM’s work will lead to an enormous revival of interest in a piece that would seem to appeal to our modern mind-set…”
“Robert Murray was an authoritative Evangelist and Cody Quattlebaum, Bass-Baritone a charismatic Jesus, while Ruby Hughes and Rachael Lloyd made strong soprano and mezzo-soprano contributions respectively. Tim Mead was an excellent Judas and Gwilym Bowen an effective Peter, while Nicky Spence – tenor’s powerful tenor and Morgan Pearse – Baritone’s brilliant bass came to the fore in their various roles. The highest accolades, however, go to Elizabeth Watts for demonstrating such consistency and feeling over what is a notably large sing for the Daughter of Zion.” Sam Smith – Review in full
Operatoday.com 20/04/2019 : Handel's Brockes-Passion
…The AAM soloists and instrumentalists communicated the musical drama and feeling with compelling commitment and power…
..Translator Moritz Grimm retained the astonishingly graphic, often quasi-erotic, conceits of Brockes’ text which abounds with explicit imagery…
…Elizabeth Watts sang with tremendous poise and presence… Gwilym Bowen – Tenor was a superb Peter… Nicky Spence – tenor’s Faithful Soul bristled with rage, the lovely warmth of his tenor winning empathy for his indignation; Judas’ recitative and aria of self-castigation was superbly sung by countertenor Tim Mead. As Pilate, Caiaphas and the Centurion, Morgan Pearse – Baritone sang with firmness and resonance. Ruby Hughes’ fresh, strong soprano and clarity of line conveyed the passionate faith of her Faithful Soul while the exchanges between Rachel Lloyd’s Mary and Cody Quattlebaum, Bass-Baritone’s Jesus were persuasively sincere and human… Claire Seymour - Review in full
The Arts Desk 20/04/2019: Brockes-Passion, AAM & Egarr - Fleshly Handel for our earthbound times
Neglected oratorio offers a seasonal alternative to Bach
“Handel’s Passion… has an earthiness, an urgency to its telling.. With a recording from the same forces shortly to be released and [Leo] Duarte’s edition as a jumping-off point, will further performances follow? I certainly hope so.”
“The Choir of the AAM were as crisp as the band under Egarr’s direction, with special mention for solos from leader Bojan Cicic and oboist Leo Duarte, whose new edition also enabled this project.”
“…no fewer than nine soloists give Handel’s narrative first-person immediacy… Cody Quattlebaum, Bass-Baritone’s warm and all too human Jesus… pleaded for mercy with disarming simplicity and restraint – a yielding foil to the chilly, metallic beauty of Tim Mead’s Judas. Gwilym Bowen’s bright, agile voice emerged with new fragility, bringing out the brittle, impetuous quality of this disciple… Faithful Soul Nicky Spence – tenor… erupting first into thrilling rage before later floating tenderness on the very surface of his glorious beast of a voice… Elizabeth Watts made much of the verbal drama of the Daughter of Zion…” Alexandra Coghlan - Review in full
Planethugill.com 19/04/2019: Remarkable revival: the Academy of Ancient Music presents Handel's Brockes Passion in a new critical edition
“A Handel rarity rediscovered in a richly evocative performance” ...
“The Academy of Ancient Music performance was strongly cast… this was a terrific achievement“ ...
“Elizabeth Watts made a strong case for the Daughter of Zion… Her two final arias in Part One were wonderful, and both paired her with Leo Duarte’s solo oboe to powerful and consoling effect… Robert Murray brought a strong dramatic sense to even the smallest utterance and his performance was highly compelling… Cody Quattlebaum, Bass-Baritone[gave a] finely lyrical and inward account of this very human Jesus… Nicky Spence – tenor brought great rhetorical strength to his role… Tim Mead made a strong Judas… Ruby Hughes [gave] a performance which powerfully identified with the character’s reactions… her final contribution was a striking accompagnato where the music really did react to the drama of the words. Gwilym Bowen – Tenor’s Peter drew a lot of the dramatic action in Part One, with Bowen creating a very human character and it was in moments like this that we experienced Handel the dramatist.” Robert Hugill - Review in full
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