… it was the second setting of the [Dies Irae], this time by de Lalande which, from the very first dramatic sweep of the orchestra completely took my breath away.

The singing was superb… The word painting by de Lalande was exquisite. The tension of the arrival of the Judge. The trumpet reverberating in the bass woodwinds through the tombs sung by the lower voices. The plodding and seeking footsteps in the basso continuo. The pleading with the judge by the bass solo... The tenderness of the ‘last end.’ And the way de Lalande brings the work to a close after a mighty Pie Jesus with the simplest Amen; breath-taking and heart wrenching at the same time.

Read Daniel Brace’s full review here.