Media

Press review

The Creation in New York (Lincoln Center)

“The great final chorus of praise, a stirring fugue, could not have been better.”
Anthony Tommasini, The New York Times, 20 July 2018

 

Seven Stones

“A thrilling success.”
“Opera or musical? ‘A cappella chamber opera’, says the composer, who shares the conducting of this extraordinary performance with Leo Warynski. The high level of its execution demonstrates the extraordinary relationship built between each member of that strong spirits-based community. Hence lots of praise for the singers-instrumentalists of the choir accentus / axe 21, astonishing illusionists.”
Marie-Aude Roux, Le Monde, 11 July 2018

“The quality and inventiveness of the musical writing for the voice are striking, and remarkably served by accentus’ singers – choir singers with soloists’ talents.”
Sophie Bourdais, Télérama, 13 July 2018

“An original chef-d’œuvre which will remain 2018 Aix Festival’s great moment.”
Le Soir, 11 July 2018

 

La Nonne sanglante

“Choir accentus very well prepared, vigorous Insula orchestra […], hard-headed conducting by Laurence Equilbey: that is all you need to awake the dead!”
Philippe Venturini, Les Echos, 5 June 2018

“At the Opéra Comique, David Bobée and Laurence Equilbey give an exquisite version [of La Nonne sanglante], fresh and invigorating.”
Sylvain Merle, Le Parisien, 10 June 2018

“accentus’ members excel in the choral parts written by Gounod.”
Sophie Bourdais, Télérama, 6 June 2018

“As for the choir accentus, it is excellent, just as usual.”
Jean-Marc Piriou, Bachtrack, 9 June 2018

 

CD Schubert – Nacht und Traüme

“Several songs (including a couple of part-songs, limpidly sung by accentus) appear in skillful new orchestrations by Franck Krawczyk.”
“The recorded sound is mellow and detailed, giving an excellent sense of both the voices and the vivid playing of the Insula orchestra. Very warmly recommended.”

Hugo Shirley, Gramophone, December 2017

“The Insula orchestra sounds warm and colourful in this intriguing, beautifully conceived recording.”

Natacha Loges, BBC Music Magazine, November 2017

 

Berliner Philharmoniker – Sir Simon Rattle

“accentus shows a manifest pleasure in singing the great choirs of praise, with transparency and beautiful nuances.”

Benoît Fauchet, Diapason, 4 September 2017

« Prepared by Marc Korovitch, accentus sings the choirs of praise in the most intelligible German. Clarity is the keyword: none of the numerous fugues appears as blurred, and none of the composer’s dramatic intentions escapes from the audience’s ears.”

Alexandre Jamar, Forum Opéra, 5 September 2017

 

The Creation

« And what a musical delight! (…) Located at the centre of the scenic disposal, in which they are refugees in search for a better world, the excelling accentus singers are responding to the double defy they are facing.”

Sophie Bourdais, Télérama, 14 May 2017

“The much in demand accentus choir lives up to its reputation for excellence, whether in the polyphonic action or the fugue-form exultation.”

Marie-Aude Roux, Le Monde, 16 March 2017

 

Christmas Oratorio

“Amongst the unavoidable artworks of the festive and family repertoire is obviously Johann Sebastian Bach’s Christmas Oratorio. For this joyful and lightful artwork an excellent choir is needed. We are very glad to listen to the famous accentus, under the direction of its founder, Laurence Equilbey, who will also conduct Vincent Dumestre’s ensemble, Le Poème Harmonique.”

Nicolas d’Estienne d’Orves, Le Figaro, 14/12/2016

 

Petite messe solennelle

“The choir was homogeneous, solid and, in a remarkable starkness, explored large universe and sometime, invited to dance.”
“Fine stamp, elegant women’s voice, wonderful musicality of tenor and baritone and wonderful noteworthly intervention of vocal quarter.”
“All the singers make us under charm.”

Éliane Faucon-Dumont, Le Télégramme 02/02/2015

 

Barock +

“With a constant informed historical approach, the French conductor Laurence Equilbey conducts the excellent choir and the solists in a high quality performance ”

Harald Budweg, FAZ Rhein-Main-Zeitung, 29/12/2015

“A French choir that celebrates a German victory : it’s a symbol of friendship and understanding between people. Presentation of rare works.”
“Men from accentus choir in particular […] give real pleasure with their vigorous voice and a perfect German prononciation”
“The HR-Sinfonieorchester was inspired by a fine sound, under the direction of a guest conductor”

Michael Dellith, Frankfurter Neue Presse, 19/12/2015

 

Orfeo ed Euridice

(3/5 stars)”Laurence Equilbey conducts her period-instrument Insula Orchestra with a keen grip on rhythm and contrasts.”

Richard Fairman, Financial Times, 25/09/2015

“[…] of rare beauty and perfection. […] A tremendous performance, hailed as a triumph by a hugely enthusiastic audience, who were totally overwhelmed by the exceptional moment of rare intensity that they had just experienced.”

Michel Egea, Destimed, April 2015

“The Music Director of accentus and Insula orchestra presented one of the most beautiful versions imaginable of this Gluck opera [Orfeo Ed Euridice]. […] Absolute perfection, especially with the great Argentinian countertenor, Franco Fagioli.”

Jean-Remi Barland, La Provence, April 2015

 

Magnificat(s)

“Equilbey maintained light but effective control over all three pieces, encouraging her orchestra to display its range of colour with skill and confidence.”

George Hall, The Guardian, 22/09/2015

(4/5 stars) “The orchestra, under Equilbey’s supervision, never seemed in any danger of running out of puff”

Hannah Nepil, Financial Times, 22/09/2015

“Insula Orchestra and accentus are sophisticated music makers. The voices blended softly with the timbre of the strings. (…) the programme and the performances were beautifully poised and were marked by elegant commitment. More please. Especially if it’s Zelenka!”

Anna Magdalena’s Notebook, 21/09/2015

“(…) Beautifully judged tempos and balance in both chorus and orchestra, allied to fine playing and choral singing and a fine line-up of soloists all went to contributing as satisfying a performance of the work as one is likely to encounter”.

“(…) Laurence Equilbey and her forces will be bringing the same programme to the Barbican Centre on 21 September. London concert goers should not miss it”

Brian Robins, earlymusicreview.com, 01/09/2015