The sound and phrasing could hardly have been in any greater accord. Anna Maria Friman, Linn Andrea Fuglseth, Jorunn Lovise Husan, and John Potter, members of the world-famous Hilliard Ensemble for 18 years, demonstrate the greatest virtuosity with their singing and offer a palette of unique, mysterious timbres.
Rheinpfalz Pfälzische Volkszeitung, 16/9/2019
In the delicate interplay of sleigh bells and shruti boxes, underscoring the vocals alongside a drone organ tone, a special atmosphere is created – one which eludes a purely sacred definition. The intricate and complex tone poems find lively expression in the bright, clear voices of the three singers.
Mannheimer Morgen, 10/5/2019
Their flowing line, immaculate intonation and generosity of spirit are simply unmatched by any comparable group.
The Australian, Graham Strahle, 12/3/2019
The three singers were not only interpreters who conveyed the beauty of music over the centuries, but they themselves seemed to be filled with the music. Inspired by the inner urge to reach a higher dimension through singing, they soared beyond the audible, and took the audience with them.
Westfälische Nachrichten Gronau, Martin Borck, 5/2/2019
Here, the two genres do not see eye-to-eye, but rather ear-to-ear: “Rímur” is a masterpiece of mutual empathy.
SWR 2 CD-Tipp, Günther Huesmann, 7/3/2017
From the opening track, 'St Birgitta Hymn - Rosa rorans bonitatem', with Arve's delicately haunting trumpet this is a captivating record that defies categorization. Let this one slip under your radar at your peril.
Jazz Views, Nick Lea, 3/3/2017
The trio sing with their usual combination of precision, imagination and deep care with text and ornamentation. Arve Henriksen’s trumpet sounds like a flute, a seabird, a human voice, a distant wind. (…) Anna Maria Friman’s resonant, zingy Hardanger fiddle has particular allure. Some of the songs themselves, as in the simple Swedish shanty ‘Du är den första’ (‘Your hand is the first I have ever held’), move deeply with their simplicity.
GRAMOPHONE, Andrew Mellor, 05/2017
To everything, Trio Mediaeval brings its rare blend of smooth, touchingly plaintive and pure vocalism. (…) Henriksen's spare and tasteful improvisations are perfectly apt, and only serve to deepen the sacredness of the hymn. (…) All three instruments (trumpet, hardanger fiddle, shruti box) add a cross-cultural, time-traveling dimension to Trio Mediaeval's pristine sound. When the women transition from monophonic, multi-octave chant to intriguing polyphony (…) their sound is exquisite.
STEREOPHILE, Jason Victor Serinus, 21/5/2017
And lyrically striking – the three beautifully matched female voices of Trio Mediaeval intone a list of possessions gleaned from the Biblical Song of Songs, each prefixed by formulas such as ‘just your…’ or ‘and my…’. A finely balanced instrumental trio of violist Garth Knox, cellist Agnès Vesterman and percussionist Sylvain Lemêtre supplies just the right amount of punctuation and counterpoint – bass drum strokes, snatches of plucked cello, a plaintive viola descant – the effect is mesmeric.
The Journal of Music, Garrett Sholdice, 16/09/2015
If you've been lucky enough to hear Trio Mediaeval in concert you will have experienced something very special: a sense of being a privileged participant in a timeless, numinous ritual, enveloped by voices that seem like some celestial exhalation yet brim with real human warmth and sensuousness. (...) Transitions between centuries are achieved seamlessly, naturally and imperceptibly, while juxtapositions of music from Iceland, Italy and England complement each other rather than clash. Enchanting individually and as a unit, Anna Maria Friman, Linn Andrea Fuglseth and Berit Opheim produce exquisite, shimmering, luminous lines, subtly underpinned in places by Hardanger fiddle (Friman), portable organ (Fuglseth) and melody chimes (all three).
BBC Music Magazine, June 2015
Trio Mediaeval have light, flexible, pristinely tuned voices, warm expressivity and the taste to produce ravishing soundscapes out of dry-as-dust plainchant and ancestral Nordic folktunes without sentimentalising the material.
The Times, January 2015
Pure joy from the beginning to the end. (…) Harmonised in every detail, the Trio impressed with excellently skilled and well-modulated voices which moved effortlessly between articulation and Belcanto.
Hannoversche Allgemeine Zeitung, Gert Deppe, 2/5/2013
It has been well worth the wait. A Worcester Ladymass is a glorious experience (…) Taken as a whole, this album is an absolute delight. Whether you simply want to wallow in a wave of seductive tones, or sit up and revel in the superbly-rendered polyphonic complexities, Trio Mediaeval ensure that the experience will be a wonderfully enriching one.
BBC.co.uk, Graham Rogers, 11/3/2011
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.
The New York Times, 26/11/2008
Light, beautifully tuned voices, wonderful dynamic variety, perfect rapport, imaginative presentation – a true masterclass in a cappella singing. (…) Beg, borrow, steal or (preferably) buy their CDs on the ECM label.
The Times, Richard Morrison, 10/7/2008
The trio have breathtaking purity of intonation along with their all-but-vibratoless tone. Harmonies course with flowing exactness; unisons are flat-out uncanny. (…) The group opted more for shades of delicacy, rounding off phrases with a jeweller’s precision, letting their timbre gently ride the church's reverberation rather than cutting through it.
The Boston Globe, Matthew Guerrieri, 3/4/2007