top of page

R e v i e w s

'Charles Brett, a master of the pure and expressive line'

(Stanley Sadie, The Times)



'One of the most distinguished English countertenors of the post-Deller period, famous for his reliability, musicality, and refreshing lack of flamboyance.'

(Church Times, 2009)



'I would like to pay tribute to Charles Brett, an outstanding singer, who influenced many countertenors, myself included... he created a great impression with  his confident and wonderfully musical singing; we all stood in awe of him.'

(James Bowman, The Gramophone, 2005)



'He is a counter-tenor whose voice, technique, approach and influence are so obviously right and totally convincing...'

(Peter Giles, The History and technique of the Counter-Tenor)



'Counter-tenor Brett produced a flood of radiant tone, frequently savoring the wonderful modulations of text and mood like a connoisseur with a vintage port. This was exceptional artistry.'

(Winnipeg Free Press)



'The evening ultimately belonged to the countertenor Charles Brett as David.

Brett's voice is now an instrument of sumptuous beauty in itself. He used it here with great expressiveness and musical insight. In the poignant final scene...

Brett and the chorus simply left us with a lump in the throat.'

(Handel's Saul, The Gurdian)



'Charles Brett, un contre-ténor de parfaite élégance, mais d'extrême intelligence expressive, avec une propreté de timbre assez unique en son genre.'

(Tribune de Genève)



‘Unostentatiously musical, vocally secure and richly communicative... His phrasing and articulation are beautifully attuned to the intrinsically musical properties of both scores, but he demonstrates a keen sensitivity to the text as well.’

(Vivaldi's Stabat Mater & Nisi Dominus, CD Review)

Charles Brett
Charles Brett
Charles Brett
Charles Brett
Charles Brett

'It was a surprise to observe the vigour with which Charles Brett controlled and inspired his performers. In the Haydn, there was a real Austro-Hungarian earthiness that is so often lacking in many over-refined present-day interpretations.'

(Haydn's Theresa Mass, Church Times, 2009)



‘Dirigés avec une précision diabolique par Charles Brett, les dix-huit chanteurs britanniques ont montré toute la grandeur de la musique chorale sacrée.’  

(Berry Républicain)



‘Avec un art consommé, Charles Brett, fondateur et directeur d’Amaryllis, a remarquablement disposé ses masses chorales et harmonisé les tonalités avec l’instrumentation orchestrale.’   

(Handel's Messiah, Var Matin)



‘L’impression qui domine est celle de fraîcheur et d’éclat... Les sons sont denses, riches, fruités. Chaque motet brille de couleurs rutilantes, scintille de nuances. Chaque madrigal crépite comme un feu de cheminée... The Amaryllis Consort propose de la vocalité anglaise une version sensuelle et humaine... Ce sont en quelque sorte Les Contes de Canterbury…’  

(Tribune de Genève)



'The Amaryllis Consort, an ensemble whose members all show an exceptionally high level of musicianship… Balance, ensemble, and intonation were immaculate; every detail was beautifully presented; and the sound was wonderful. It was a demonstration of excellence in every respect…’ 

(The Guardian)

Photos (from top): 1. Malcolm Crowthers - 2. Jutta Glathe - 3. Cécile Brett - 4. Gerald Place - 5. Unknown 

bottom of page