For more than thirty years Gothic Voices has been renowned for the excellence, refinement and beauty of its performances of medieval music. A quartet of voices, the group continues to evolve, performing imaginative programmes that use their voices in varying combinations and recently expanding their repertoire to include contemporary music.
Underpinning Gothic Voices’ success is a commitment to bringing medieval music into the mainstream. Founded in 1980 by Christopher Page, they have built an impressive reputation for promoting previously unfamiliar music – predominantly from the 11th to 15th centuries – to audiences all over the world. In recent years, the group has found that medieval music performance practice translates naturally to contemporary music, particularly as many of today’s composers are influenced by the medieval repertoire and its often experimental nature. The juxtaposition of the old and new is now a staple of their programming. Gothic Voices has commissioned and collaborated with living composers including Joanne Metcalf, Andrew Smith, Karen Takana, and Michael Pisaro. Their disc Mary, Star of the Seafor Linn Records was released in 2016 to great critical acclaim: “a thoroughly engaging recording of impeccable clarity” (Choir and Organ).
The group’s first ever and ground-breaking recording of the music of Hildegard of Bingen, A Feather on the Breath of God, remains one of the best-selling recordings of pre-classical music ever made. It continues to signify Gothic Voices as leaders in this field, along with an award-winning discography of more than twenty CDs for the Hyperion and Avie record labels, three of which have won the coveted Gramophone Magazine Early Music Award. Their most recent disc, for Linn Records, isThe Dufay Spectacle.
Gothic Voices collaborates with instrumentalists including Andrew Lawrence-King and has received great praise from the critics: “magnificently transporting us to their 15th-century sound world” (Gramophone – Editor’s Choice).
Gothic Voices has sung in a wide variety of venues: in great cathedrals in Germany and Spain, medieval abbeys in France and Italy, theatres, concert halls and even a shopping centre in Ecuador. They have toured widely in Europe, Scandinavia, Israel, North and South America to great acclaim. They have appeared at the BBC Proms, the Spitalfields Festival, the Wigmore Hall and the South Bank Centre and have performed at the Aldeburgh, Spitalfields, Cheltenham, Chester and Three Choirs Festivals and the Edinburgh International Festival, as well as the York, Brighton and Birmingham Early Music Festivals. Other overseas venues include the Flanders and Utrecht Early Music Festivals and the Vestfold Festival in Norway. Recent highlights include performances for Louth Contemporary Music Society, Laus Polyphoniae at the Flanders Festival, and collaborations with the Oslo Domkor.