This anthology represents Purcell's inventive word-setting better than any other I know. The performances seem to me convincingly close to the heart of the composer's intentions. The alto voice is all-pervading (Purcell was an alto himself and was well supplied with very wide-ranging alto singers in his choirs). Ashley Stafford encompasses with ease all the composer's technical requirements, which are notoriously demanding and his grasp of the architecture of the great solos, both sacred and secular, is assured. One of the difficulties with this voice lies in the placing of melismatic phrases, which makes it hard always to pop in the consonants distinctly enough. For example, in the solo ''Sweeter than roses'' the word 'kiss' (the nub of the thing) is nearly missed. But I have never heard better enunciation in the choral works, which also include solos from tenors and bass. These six voices, plus cello and chamber organ create a wholly satisfying world of expression.
Alastair Ross gives bright, neat accounts of two voluntaries, delightful interludes, and combines organ or harpsichord, as required, with Jane Coe's cello in intelligent phrasing. Lute (Lavinia Snelling) and cello also combine sweetly in two of the items. This cassette, mastered in real-time, is technically excellent and offers good value at 70 minutes. There is no LP equivalent.'