Chanticleer shows the power of music

The Washington Post

Twelve men take the stage in white ties and tails, relaxed, confident. They acknowledge the audience graciously, but briefly; the music they make requires total focus.
There are two basses, one baritone, three tenors and six countertenors, mingling their voices in a rich, intricately blended sound, their diction — in medieval Latin, Renaissance French, Swedish and English — as clear as a bell, their pitch so solid you could walk on it. Their sense of ensemble brings to mind the precision and cohesion of such legendary instrumental groups as the Budapest String Quartet and the Beaux Arts Trio. 
This is Chanticleer.
Pieces by Vivanco and Guerrero filled the Eisenhower Theater with antiphonal effects first heard in the cathedrals of Avila and Seville. Settings of Ronsard by de Monte and Bertrand exuded subtle sophistication, and I know of no other ensemble I would rather hear sing Palestrina.
More recent works included irresistible arrangements of Stephen Foster by two superb composers, John Musto and the late Gene Puerling. There also was a premiere by Mason Bates, the Kennedy Center’s composer in residence and mastermind of the KC Jukebox series, called “Drum-Taps,” a setting of poetry by Walt Whitman; even an abundance of obvious musical allusions couldn’t diminish the impact of Whitman’s moving text. Far more harmonically complex were the “Love Songs” by the always interesting Augusta Read Thomas. And the timeless quality of open intervals made another recent commission, Jaakko Mantyjarvi’s “Hommage à Edith,” the most memorable of the evening.
Resisters, had there been any, would have been won over with the wit and sincerity of Coward’s “I’ll Follow My Secret Heart,” arranged by Chanticleer’s Adam Ward, or the Gershwins’ “Love Walked In.” Read the rest of the review here