| The New Yorker | Alex Ross
In February and March, during the six weeks of Lent, the vocal ensemble tenet presented a series called “tenebrae,” given over mainly to Renaissance and Baroque settings of Lamentations. The performances took place at Trinity Church, on lower Broadway, in the late afternoon, as the light was fading. (...) I attended all except two events in the Lenten series and repeatedly walked away in an exhilarated state: the music provided illumination of another kind.
The "TENEbrae" series was an even more formidable undertaking, one that in other hands might have been ill-advised. A work such as Gesualdo's Responsoria, with its labyrinthine structure of jarring harmonic shifts, cannot easily be tossed off amid other assignments.
TENET's singers and players registered not only the notes but also the space around the notes: there were superbly timed pauses, lingering contemplations of sustained chords, phrases like exhalations.Read Article
| The New York Times | Zachary Woolfe
As the Cantatas Unfurl, a Reprieve Is Affirmed
Jolle Greenleaf, the artistic director of Tenet and a soprano who can both float and focus, led an excellent group of singers that featured the soprano Molly Quinn, the alto...Read Article
| The Arts Fuse | Susan Miron
Green Mountain Project — Monteverdi at his most Audacious
This year their two NYC concerts were packed as was the performance in the cavernous St. Paul’s Church in Harvard Square. Artistic director Jolle Greenleaf (also a top-notch...Read Article
| The Boston Musical Intelligencer | Cashman Kerr Prince
Voices Raised in Praise
For a year so young, this performance has already set the bar for all subsequent concerts so terribly, terribly high I fear all may pale by comparison. I commend Scott...Read Article
| The Boston Globe | Jeffrey Gantz
Rejoicing in Green Mountain’s sacred airs
Claudio Monteverdi’s “Vespro della Beata Vergine” of 1610 has been called his “secular contribution to sacred music.” To the five psalms, the Marian hymn &ldquo...Read Article