“… Confident, superbly sung choral contributions … Sarah Fox brilliantly combines spiritual zeal and sword-like gleam. Toby Spence deploys his urgent lyricism in a fine portrait of Manasseh’s vacillation, weakness and eventual redemption. Kathryn Rudge is radiant as Meshullemeth, a role you feel could take any amount of mezzo/contralto embonpoint, and Henry Waddington makes the High Priest’s and the Assyrian Messenger’s pronouncements suitably sonorous and baleful. William Vann works wonders with the London Mozart Players…[Judith] is brimming with the melodic fervor, harmonic imagination and wide-ranging sensibility that so distinguish this marvellous composer’s music.”  ****

“… There is no doubting the commitment that William Vann and his co-artists bring to this unjustly neglected score. The unflagging energy of the Crouch End Festival Chorus is impressive, as are the uniformly communicative soloists. Soprano, Sarah Fox thrillingly inhabits the character of Judith, providing a number of commanding rallying cries throughout the work. Kathryn Rudge possesses that wonderfully rich mezzo sound which is a mainstay of English oratorios, and brings maternal warmth to Meshullemeth. Tenor, Toby Spence is no stranger to Parry’s music, having recorded Job some years ago. His idiomatic singing of Manasseh underlines the king’s humanity. Henry Waddington brings sinister authority to his twin roles of High Priest of Moloch and Messenger of Holofernes. This first complete recording is a significant contribution to the Parry discography and will hopefully inspire some live performances, for the choral and orchestral writing provide plenty of satisfying material for the performers…” ****

Performance *****      Recording *****

“… after a century gathering dust, it [Parry’s Judith] enjoys a superlative premiere recording by the London Mozart Players, vigorously conducted by William Vann, with committed singing from the Crouch End Festival Chorus and a fine line up of soloists …”

“… The singers are without a weak link in the chain of excellence. Toby Spence is eloquent in the role of the weaselly Manasseh and Kathryn Rudge, as his wife, is splendidly authoritative. Henry Waddington takes on two roles – the High Priest and the Messenger - with requisite gravity and steadiness of tone. Much praise, too, to the children’s chorus and the orchestral and choral forces. Most praise, though, to the conductor William Vann who brings a true sense of conviction to the piece and ensures a fine and just balance between the orchestra and chorus. This 2019 recording followed on the heels of a critically admired Royal Festival Hall performance. There is loving attention to detail and an absorbing commitment to the music-making… there are many memorable moments and many characteristic elements that are worthy of repeated listening and mark this significant staging post in the British oratorio tradition.”

“… I have to say, without fear or favour, that Parry’s oratorio is absolutely magnificent… Parry’s inventive powers are fully capable of meeting the demands of his imagination and ambition, as indeed are all the performers and engineers involved in this significant issue… The Crouch End Festival Chorus are quite exceptionally good, with fine, crisp, clear tone, always together and in tune, and perfectly blended… The soloists are fine too with Kathryn Rudge as Meshullemeth, Manessah’s wife, especially creamy-toned and eloquent. The true hero of this enterprise is the conductor William Vann who spearheaded the project to revive and perform the work in April 2019, and then to record it.  His grasp of the music is most impressive and his control of the technical intricacies of conducting is immaculate…. The thunderous finale is Parry at his epic best.  These moments are totally overwhelming.”

Recommended

“… This is a major and distinguished addition to the Parry discography.”

 

“… It’s all you might imagine a grand piece by Parry to be; resolute, bold, melodic – and surprising; the tune for the hymn Dear Lord and Father of Mankind was lifted directly from this piece. Vann and his excellent forces make a convincing case for more performances.”

“…Conductor William Vann’s overall approach is straightforward, which creates an attractively honest performance, with is well-executed in terms of expressive details and is free from over-sentimentality. The London Mozart Players are in fine form … The Crouch End Festival Chorus is commendable, with balanced sound and clear diction… The recording, made in the Church of St Jude-on-the-Hill, Hampstead Garden Suburb, London, has an ideal acoustic for this repertoire. The engineers have captured all the parts with clarity, and the balancing throughout is intrinsic to Parry’s compositional style, which enhances the overall enjoyment of both the work and performance. Chandos is commendable for committing British choral rarities such as this to record. This recording is as significant as Ethel Smyth’s Mass in D from late 2019... Vann ensures “Judith” is approachable, and whilst the music is not as instantly recognizable as in Elgar’s oratorios, Vann’s vision brings a worthwhile, rewarding, and recommended listen.”

“… Sarah Fox rings out as Judith, the Crouch Enders exult, the tenor Toby Spence sonorously conveys the vacillating king Manasseh and parry creates sequences of stirring clamour.” ***