[Francesca Chiejina] is equally at home in the coloratura of the first verse of ‘Let the florid music praise!’ [On this Island] as she is in the reflective, cantabile second verse. She finds the right tone of irony, and the cheeky, relaxed cabaret/jazzy drawl necessary for the final ‘As it is, plenty’ ...William Marsey has achieved something close to pathos in his short and highly unusual piece 'Removal and other powers'. It is beautifully sung by both singers ... Fleur Barron’s rich mezzo is ideal [in Finzi's 'Before and After Summer'], and she makes a wonderful job of the songs. It is clear from the opening song that assertiveness will be one of the qualities she will bring to her performance. She takes her cue, no doubt, and quite rightly, from the overall atmosphere of the set. Yet she adopts a pleasing simplicity of utterance for ‘Amabel’, and more particularly still for the preceding ‘Epeisodia’, a performance of exquisite lightness. If the songs appeal, so will Barron’s singing of them ... Binding the whole recital together from the keyboard is pianist, Natalie Burch ... Her playing throughout is very fine indeed, full of character, whether it be in forceful passages or in the more transparent, flowing textures that run in and out of the vocal line in some of the songs. She is totally at one with the singers, but you never forget she is there. All this is, I believe, the mark of a great accompanist"
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