Emma Tring soprano
Guy Cutting tenor
The Choir of Merton College, Oxford
Oxford Contemporary Sinfonia
Benjamin Nicholas conductor
Palm Sunday
Anointing at Bethany
Last Supper and Footwashing
Gethsemane
Caiaphas, Peter and Pilate
Crucifixion
The End and the Beginning
MusicWeb International
August 2019
an extraordinarily glowing performance … [the] text is delivered with impeccable clarity by the two soloists
Choir & Organ
March 2019
Jackson's striking re-telling of the Passion proves to be modern, majestic and deeply moving ... Soloists and choir eloquently weave through the shifting perspectives of this work of exquisite imagination with involving feeling
Gramophone
March 2019
rich with melodic embroidery … an effective, emotionally charged contemporary Passion
Classical Music Daily
March 2019
Emotionally charged performances, superb sound quality and highly informative annotations
MusicWeb International
March 2019
RECOMMENDED: a libretto of considerable liturgical discernment and literary merit ... an extremely moving and profound work ... a very fine synthesis of words and music ... that offers at one and the same time a compelling, dramatic narrative and a deeply thoughtful series of reflections on [that] narrative
The Scotsman
April 2019
Mellifluously emotive vocal writing is strikingly complemented by... dizzily picturesque instrumental scoring
The Times
April 2019
The ambitious and ingenious libretto weaves Gospel narratives with infusions from TS Eliot and others; the Merton College Choir and Oxford Contemporary Sinfonia, conducted by Benjamin Nicholas, are always crisp.
The Arts Desk
April 2019
An unabashedly diatonic, very singable work, one which would take a hard heart not to love ... The interplay between choir, tenor and instrumentalists is brilliantly handled ... this is among the best-sounding choral recordings I've heard ... music of unassuming, gentle radiance ... Brilliant – purchase forthwith.
BBC Music Magazine
May 2019
CHORAL & SONG CHOICE: This outstanding recording ... bursts with energy... Jackson’s engaging score is richly colourful and his instrumental writing proves a particular highlight.