November 10th, 2004: from the Ithaca Times:

"Watching a group like The Cayuga Vocal Ensemble evolve is one of the pleasures of being a critic in Ithaca. Under the directorship of Lawrence Doebler, the 16-voice ensemble continues to refine its sound into something more transparent, more supple, more sonically varied than ever before...The choral sound was completely pure and focused in three selections by William Hawley, a contemporary composer who has written much music for Chanticleer.... The Cayuga Vocal Ensemble found a way to emulate the pure, vibrato-less sound of Chanticleer's countertenors. "

Read the full text of the review of our November 7th performance, from the Ithaca Times

May 24th, 2003: from the Ithaca Times:

"Director Lawrence Doebler seems to have intended above all to showcase the sheer virtuosity of his all-pro band of voices... The Cayuga Vocal Ensembe impressed the listener in its ability to follow easily wherever the music led. Even more impressive were the pianissimos which never faltered but sustained and grew."

Read the full text of the review of our May 24th performance, from the Ithaca Times

November 8, 2002: from the Ithaca Times:

"The voices simply blended into a lovely sheen of sound onto which the passing succession of vowels cast a rainbow of colors."

Read the full text of the review of our Nov. 2nd performance, from the Ithaca Times

May 29, 2002: from the Ithaca Times:

"The Cayuga Vocal Ensemble... continues to sound better and better...No piano accompaniment was needed; just one starting note on the pitch-pipe. What followed was the richest, fullest, most confident choral sound one could hope for, the kind of unified sound one usually expects from the better orchestras, only this is an orchestra that can articulate words as well as notes."

Read the full text of the review of our May 25th performance, from the Ithaca Times

November 3, 2001: from the Ithaca Times:

"[The concert] was an evening of professional choral music, with a finely honed blend and ringing intonation.... The rapid meter changes...did not faze them in the least, nor did the multitude of dissonances...compromise their intonation.... One hardly needed current events to justify a musical experience such as this, for solid music making is a welcome change of pace under any circumstances. The Cayuga Vocal Ensemble provided a haven whereby those who labor and are heavy laden from so-so performances could come and find rest unto their souls."

-- Mark Simon

Read the full text of the review of our November 3rd performance, from the Ithaca Times

May 12, 2001: from the Ithaca Times:

"It also takes skilled voices to bring the music off as elegantly as it was here. The intonation in this otherworldly score was transparently pure, and the tone remained intense even at the most extreme pianissimos. The texture changed at every inflection of the text...The Cayuga Vocal Ensemble's dance-inspired concert proved a powerful experience for all, from the youngest straight up to Distler's Mother. One looks forward to more from them next season."

-- Mark Simom

Read the full text of a review of our May 12th performance, from the Ithaca Times

December 9 and 10, 2000: from the Syracuse Post-Standard:

"One of the major reasons for the success of this performance is the...Cayuga Vocal Ensemble... The group stands out among vocal chamber ensembles as a well-disciplined team with its homogeneous blend of tone, careful balance among voices and superb rhythmic acumen. The chorus's clean and lucid contrapuntal lines in "Fallen is the Foe" was especially pleasing, as was its spirited delivery of the ebullient "We Come in Bright Array".

-- David Abrams

Read the full text of a review of our December 9th performance, from the Ithaca Times.

November 8, 2000: from the Ithaca Times

"This superb 16-voice ensemble gave us a real treat, with flawless intention, outstanding attention to detail and diction, superior training and execution...The Missa Papae Marcelli of the 16th-century master Palestrina...brought us a hushed sacred tone, a beautiful balance of voices, gorgeous pianissimo singing, and clear and smooth moving parts. Even with the sameness of sound of such music, there were wonderful expressive contrasts in the words and with the ever-changing use of different voice groups. The sound and expression was truly transcendent...And how delightful it was to see them having such a good time...This was a fine program and very well done."

-- Jane Dieckmann [Read the complete review]

May, 2000: from the Ithaca Journal

"...small, syllabic nuggets of sound passed seamlessly from one singer to another, creating a shimmering array of vocal textures combined with a wonderful unfolding of harmony." [Read the complete review]

A letter from Michael Horvit, composer of Land of Dreams

Dear Members of the Ensemble

Joseph Murphy was kind enough to send me a tape of your performance of Land of Dreams on November 1. It is an excellent recording of a splendid performance. Thank you so much for singing my music so beautifully. You understood the style perfectly!

I want especially to thank Loralyn Light for her outstanding performance as soloist. It was an absolute pleasure to listen to the choir, Loralyn, Joseph, and Aleeza Meir bring Land of Dreams to life.

Please thank Jeffrey Gemmell for his superb understanding of the piece and the care and skill with which he directed the ensemble.

Sincerely,

---Michael Horvit

November, 1999: from the Ithaca Times

"Vocal sounds can be modified with the vowels and consonants they are meant to sing, and in skillful hands a group of singers can produce as rich and varied sound as an orchestra."

-- Mark Simon

December 8th, 1998: from the Ithaca Journal

For Schütz's little-known setting of the Christmas Story, NYS Baroque were joined by members of the Cayuga Vocal Ensemble, and, in the role of the Evangelist, guest tenor Mark Bleeke.

The choir, prepared by John Rowehl and conducted by continuo leader and theorbist Richard Stone, had a warm and well-balanced sound in its opening and closing choruses.

Of the eight 'intermedia'---discrete numbers scored by Schütz for various reduced vocal and instrumental resources, and used to set the words of the three wise men, the heavenly host, the high priests, and so on---soprano Kathleen Parkhurst sang those of the angel with a clear and strong tone, especially Schütz's spare setting of the angel's first appearance to the shepherds.

Bass Keith Earle sang Herod's insincere melismas with great earnestness.

---Gary Moulsdale

December 6th, 1998: from the Syracuse Herald American

The Cayuga Vocal Ensemble, or more accurately a chamber-sized version of the group (consisting of fourteen singers), brought out the best in Schütz's style---with a lovely, expressive vocal delivery punctuated by thoughtful balance and a consistently secure rhythmic flow. The singers displayed great stage presence---always looking up at the audience, and their clear diction of the original German text made for a most convincing performance...

The Ensemble numbers were magnificent---particularly the clean, polyphonic textures of the 'Intermedium 2' section, where the imitative melodic lines sparkled.

---David Abrams