Critical Acclaim

choir
2015

Chorally demanding, it was made to sound easy by the accomplished Chamber Singers, and the masterful control and clearly deep understanding of Carl Crossin’s direction.

Late Night in the Cathedral: Passio
Aussie Theatre, March 2015

Sometimes at the altar of precision is sacrificed warmth, meaning and fervor, but not so with the Singers. Crossin and the Singers attain it all. Bravo. Brava.

Late Night in the Cathedral: Passio
Barefoot Reviewer, March 2015

…ACS’s performance will appeal to anyone who enjoys great music, performed by world-class musicians in a unique and superb acoustic setting.

In typical ACS style, the work is dignified, solemn and intriguing, and complex musicality seems easy in the hands of these accomplished musicians and singers.

Late Night in the Cathedral: Passio
Indaily, March 2015

With stellar playing from the small group of instrumentalists and the steady hand of director Carl Crossin always ensuring balance and precision, this was as persuasive a performance of a challenging work as you could encounter.

Late Night in the Cathedral: Passio
The Advertiser, March 2015
2014

St Peter’s was deservedly packed out on both nights, and the Adelaide Festival clearly ‘hit a six’ with this programming.

Late Night in the Cathedral
The Barefoot Reviewer, March 2014

…delighted the capacity audience with their poise, presence and purity of sound at the Festival concert The Complete Motets of JS Bach.
From the moment that the ACS began with “Komm, Jesu, Komm”, the respectful audience was transfixed and transported to whichever spiritual plane they chose.

Late Night in the Cathedral
Indaily, March 2014

Der Geist hilft Schwachheit auf is harder to perform… but here too ACS acquitted themselves with the highest colours. Even Jesu, meine Freude, with its central five-part double fugue and trios thrown in, failed to unseat the singers. Intonation didn’t deviate one jot.

Late Night in the Cathedral
The Australian, March 2014

…ACS’s entirely grounded and deeply satisfying, ungimmicky readings floated over the myriad challenges with seeming ease that delighted the senses no end. Knut Nystedt’s deconstructed Bach chorale Immortal Bach 1 proved a sensational sonic experience, the 24 singers sounding like double their numbers in its enticing ear-candy that remained in the mind long after it had finished.

Late Night in the Cathedral
The Advertiser, March 2014

This is a meticulously disciplined and highly accomplished choir, which deserved the rapturous applause from a packed cathedral at this 10pm concert.

Late Night in the Cathedral
Australian Stage, March 2014

Their female line-up vocal signature is always memorable but for sheer purity, expressiveness and intonation accuracy this program provided stellar listening of exceptional quality.

Crystalline
The Advertiser, April 2014

The sixteen singers were in their forte and their piano, and everything in between with this vocal and choral marathon. …Choir of the World, indeed. And they are ours.

Monteverdi’s Fire
The Advertiser, October 2014
2013

“…a magnificent performance of Thomas Tallis’s Spem in Alium 40-part motet under Crossin. It was spine-tinglingly glorious. There should be more events like this.”

Tales of Two Cities
The Australian, June 2013

“Conducting and singing such a complicated, contrasting piece is a challenge for conductor and singers alike, and it was met superbly. No audience could have been more thrilled or uplifted – nor shown their appreciation more warmly.”

Tales of Two Cities
Stage Whispers, June 2013

“Under guest conductor Christie Anderson’s adroit and caring direction the 16-strong ACS, on something of a lap of honour after their recent triumphs in Europe, were still in winning form with their cutglass precision, tonal elegance and cultured panache suiting Britten’s style to perfection. All seven settings of Hopkins’ poems sounded positively incandescent.”

“Throughout the program ACS infused everything with their special brand of magic…”

Procession
The Advertiser, September 2013
2012

“The well trained choristers managed their various roles with distinction, dispassionate observers in the chorales, bloodthirsty crowds in the trial scenes and most tellingly as loving friends in the final chorus… Moon’s little band kept the baroque conventions on track with strong strings, elegant obbligatos from oboes and flutes and secure continuo of organ, gamba and bassoon.”

St John Passion
The Advertiser, March 21, 2012

“The Adelaide Chamber Singers and the Sydney Chamber Choir, the two choirs which formed the chorus, were magnificent … The chorales, varied within themselves according to their emotional import, were polished, meticulously phrased, and emotionally satisfying… The singers were joined by an orchestra of excellent players led by Lucinda Moon, one of Australia’s most experienced and capable baroque violinists.”

St John Passion
Australian Stage, March 18, 2012

“The full, focused sound of the opening chorale, Herr unser Herrscher, promised good things to come and they did… the chorus [was] directed by Adelaide Chamber Singers conductor Carl Crossin [and] their sound filled the Great Hall with full-toned, smooth-edged gravitas.”

 

St John Passion
Sydney Morning Herald, April 2012

“Director Carl Crossin and his talented bunch are always totally involved in their work. Their engagement embraced the crowd.”

Exile & Enlightenment
The Advertiser, June 19, 2012

“ACS let the light shine through the chorus runs, separating the notes – the result of much painstaking work (especially for the basses) on vocal cords and diaphragms. Lucinda Moon led a six-piece ensemble for stylish accompaniments…”

…and on Earth, Peace
The Advertiser, December, 2012
2011

“In their delivery of Tavener’s formal but deeply expressive chants, men only, women only, both combined, with and without harmony, Crossin and his colleagues were at their most disciplined and most serene.”

Ancient Voices
The Advertiser, 20th April, 2011

“The ensemble never faltered, and among the many fine soloists, Alexandra Stubberfield shone most brightly.”

Classics Old & New
The Advertiser, 28th September, 2011

“…the 2011 festival has brought together new, favourite and little-known older chamber works and given singing voices, whether solo or concerted, the consistently prominent place they deserve. That last statement is true, at least, when the festival’s resident choral group is as impeccably co-ordinated as Carl Crossin’s Adelaide Chamber Singers…”

Huntington Festival
Sydney Morning Herald, November 29, 2011
2010

“The two [Francisco Guerrero and Claudio Monteverdi] give us different but equally finely wrought musical world views. Both were superbly performed by the Adelaide Chamber Singers under the attentive direction of Carl Crossin.”

Fire Songs
The Advertiser, 23rd June, 2010

“Now that is something for an amateur choir to shout about: 25 years of continuous concerts, of conventions upheld and broken, of appearances around Australia and six international tours, of high standards reached and improved upon. Both these [Gabriel Jackson’s Sanctum est verum lumen and Tallis’ Spem in alium] are tours de force for any choir. They wrapped up a night of triumph for Crossin and the singers.”

25th Anniversary Concert
The Advertiser, 2nd November, 2010

“Conductor Graham Abbott wrapped up a package that could take pride of place under any Christmas Tree. 25 of the fairest and best Adelaide Chamber Singers performed remarkable feats of speed and accuracy.”

Messiah
The Advertiser, 14th December, 2010
2009

“There were fine solos from the very versatile Greta Bradman and tenor Andrew Lynn, but the real triumph of this performance was the collective and cohesive achievement of all 30 voices.”

Vespers
The Advertiser, 12th March, 2009

“FREEZING though St John’s might be on a chilly spring evening, the Adelaide Chamber Singers were on fire in a large program that showcased their formidable artistry. ”

Renewal
The Advertiser, 14th October, 2009

“rare are the singers who can move so smoothly between solo and chorus roles.”

Radiance
The Advertiser, 8th December, 2009