No one is pretending Poulenc`s melodies and instrumental music are without their performing problems. But, rather curiously, he left many of his most fearsome challenges for his choral music: in phrasing, balance, articulation, register and, above all, tuning. For every piece that sits comfortable in a modal armchair, there`s another that stuns with chromatic leaps and bounds – and often the two styles interlock.
So one approaches every new recording of this repertoire with slight trepidation. Twenty seconds is usually enough. As it was here. After which all I could say was “Hoorah!” And I went on saying it, interspersed every now and again with “Wow!” (initially the soprano top B on track 4). I see I`m now less than a half way through the review, and I suppose if I just went on writing “Hoorah!” and “Wow!” my editor might have to reduce my fee, which of course could be a serious matter. But really my only cavil is over a few errors in the printed French and Latin texts.Of the performances, I have to say this is some of the most beautiful and moving choral singing I have ever heard. I suppose you could query the performance of the secular items in a resonant church. But it dosen`t worry me, given the spirit and energy of the singing. Words too are crystal clear, with excellent French. Am I allowed to say “Hoorah!” And “Wow!” once more? Next stop,- please, “Figure humaine.” Roger Nichols BBC Music Magazine June 2012