'This magnificent series goes from strength to strength, each fresh instalment reaching even more stratospheric standards of excellence than its predecessor' (The Daily Telegraph)
'I'm inclined to think this superbly engineered disc the most successful issue yet in a splendid series. Fervently recommended' (Goldberg Early Music Magazine)
'The King's Consort has grown in confidence in this music as the recordings progress; each of these pieces is a joy. The soloists are uniformly excellent, with James Gilchrist comining into his own ... These are Rolls-Royce recordings, drawing on the very best of British musicians and recording experience. Even the ripieno choir is peopled with some of the country's most experienced singers' (Early Music)
'Robert King's essential exploration of Monteverdi offers yet more evidence of the master's genius. Here the familiar sits with lesser known settings of sacred settings, all works of staggering beauty. King and the soloists capture the essence of this music, with outstanding contributions from Carolyn Sampson, Charles Daniels and James Gilchrist' (The Independent)
'The opening Laetatus sum is irresistible - typical in its bounce and clarity of every track in the fourth volume of the King's Consort's survey of sacred Monteverdi … Monteverdi collectors shouldn't hesitate' (The Times)
'This series of recordings is proving to be the definitive account of the neglected side of Monteverdi’s genius, and one that’s unlikely to be surpassed in range and quality for many years' (BBC Music Magazine)
'All played and sung with style' (The Sunday Times)
'Robert King never rushes the music but cannily treads the fine line between dizzying excitement and authoritative splendour. Even if you already admire seminal recordings of Monteverdi sacred music by the likes of Andrew Parrott, Konrad Junghänel and Rinaldo Alessandrini, there are plenty of less familiar gems included that make this series essential' (Gramophone)
It has been almost a year since the last release in this series, but from the very first bar of the Laetatus sum setting which opens this new volume the wait seems to have been worth it: over a swaggering bass ostinato Monteverdi weaves an exuberant array of melodies—with widely contrasted instruments and voices—to draw us once more into the world of Venetian extravagance.
The programme continues with a range of motets, the forces called upon varying from solo voice in the declamatory Salve regina to multiple soloists and polychoral opulence in the Beatus vir setting.