If you’re familiar with Anonymous 4 and Trio Medieval, you’ll know what to expect from this very fine British trio of women who sing the repertoire of the former with the latter’s approach to ensemble style and sound. That is, they “do not believe female early music singers should sound like modern choirboys” but rather adopt an approach that “celebrates their different vocal timbres”. So while the colors may be more varied and more liberties may be taken with interpretation in some pieces–a slight stretching or bending of pitch here, an improvisatory exploration there–the performances are beautifully sung, adhering to an interpretive philosophy that appreciates the music’s appeal in a context more earthly and less formal and hyper-refined than we may be used to. There’s less emphasis on purity of blend and more on sheer expression and rhythmic vitality–and yet, these singers prove on several tracks that they can sing a unison chant as well as anyone.
Jan Walters’ harp is added on some selections (as is the shawm of singer Belinda Sykes), and Walters also offers a few solos, including an interesting improvisation on the cantiga “Como poden per sas culpas”. Other highlights include the beautiful song Rosa das rosas, the lively, dancing Alpha bovi et leoni, and the lilting rhythm and lovely harmonies of Parit preter morem. The sound is complementary and the voices are all exceptionally pleasing, both solo and in the various ensemble combinations (and be assured, there are no choirboys here!). Even though the repertoire is familiar, this impressive group has managed to make it sound fresh and worth hearing over again–no mean accomplishment, and one that makes me eager to hear more from Mille Fleurs and Signum, whatever their next project.
