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These three voices blended with a supernatural clarity and beauty that might cause even a confirmed agnostic to contemplate a spark of divinity in these centuries-old manuscripts.
New York Times

Ce patchwork intituled A Worcester Ladymass est tout simplement extraordinaire. Les voix féminines du Trio Mediaeval chantent avec tant de pureté, de force et d’enchantement qu’elles plangent l’auditeur hors du temps, dans un monde rempli de joie, de sérénité et de beauté.
L.S., Tribune de Genève

A Worcester Ladymass sources from a series of 13th century snippets (The Worcester Fragments) from the Abbey of St. Mary's, in Worcester, England. Complex polyphony imbues the 18 choices that Trio Mediaeval culled from the hundred-plus songs left by the Abbey's monks, brought together in a cohesive, 50-minute program that also includes two more inherently modernistic pieces, from contemporary composer Gavin Bryars, that remain a contextual fit with its 800 year-old musical cousins. The darker, minor-keyed "Credo" appears halfway through the song cycle and, coming as it does from Bryars' more considered pen, is the album's longest, most structurally developed piece barring "Kyrie," where Trio Mediaeval demonstrates its remarkable ability to combine soaring unison singing with expansive harmonies, as well as an ability to pass melody amongst its members like an athletic tag team—a feat that might be considered impossible, were it not possible to watch Trio Mediaeval actually do it.
John Kelman, All about jazz

The appeal of this music is its rareness and obscurity crossed with the pioneer spirit of an exceptional vocal trio and a visionary producer.
C. Michael Bailey, All about jazz

Herausgekommen ist ein faszinierender, fünfzigminütiger Musikhybrid, der den Zuhörer zuerst tief ins dreizehnte Jahrhundert entführt, um dann mit zwei, drei überraschenden Noten in Arvo Pärt’scher Manier einen sanften Bogen in die Gegenwart zu schlagen.
Martin Morgenstern, Crescendo

Whatever possesses humans to refine the art of singing to such a level of sonorous purity and expressive simplicity as exemplified by the three women of Trio Mediaeval.
David Vernier, Classics today

L’interprétation, aux lignes souples et à l’harmonie pleine, discrètement colorée par quelques touches de carillon dans deux plages, rend pleinement justice à cette musique, proche parente de celle de l’école de Notre-Dame. Les melodies, tantôt d’une confondante simplicité, tantôt complexes et sinueuses (sans parler des envolées de Bryars), plangent l’auditeur dans des catmosphères soigneusement alternées, entre le bercement typique de la rythmique monochrome de l’Ars Antiqua et la déclamation plus hiératique des conduits. Une réussite d’une délicieuse subtilité.
David Fiala, Diapason

This disc fills a gap on the medieval shelf, and it is likely to come off the shelf for repeated listening.
J. F. Weber, Fanfare

The performances are ravishing. The three high, pure voices manage to incorporate warmth in a manner that seems almost impossible; each has a particular timbre, and no singer tries to suppress that individuality. In songs of praise they seem overjoyed, and meditative moments are just as effective; they add an eerie drone to the penultimate number, and chimes to the “Agnus Dei”. The recording, too, is perfect. Behind the three women’s voices is silence – clear, honest, and respectful. This is a must.
Robert Levine, Stereophile

Die von englischen Mönchen gesungene messe zu Ehren der Heiligen Jungfrau Maria verwandeln die drei Norwegerinnen in ein zeitlos erhabenes und betörend schönes Bekenntniswerk.
Guido Fischer, Sono Magazin

Anna Maria Friman, Linn Andrea Fuglseth, and Torunn Østrem Ossum have voices of exceptional purity and sweetness, and their intonation is focused with such absolute precision that the music rings with clarity.
Stephen Eddins, All music

Trio Mediaeval’s most recent recording for the ECM New Series is titled “A Worcester Ladymass”. It is filled with some of the most beautiful music one will hear this side of Heaven.
Greg Barbrick, Blogcritics