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SITE RATING:  7/10 SITE REVIEW:  I was impressed with the Duke Chapel Choir's 1999 recording, also under the direction of Rodney Wynkoop, and so, when I read that they had released a second album, created from a series of live performances in 2014, I called the school's bookstore and quickly ordered a copy.   The sound on this release is quite fine, with warm, delineated sound, and little audience noise that I could detect.  The playing, by the Orchestra Pro Cantores, on modern instruments, is expert, with Wynkoop's tempos and emphasis sure and clean - he revels in a languid "Pifa", but is sparkling during more gloried moments.  The Duke Chapel Choir has improved under Wynkoop's tutelage, although they still show their relative youth and inexperience during the more difficult passages, lacking unity on the more difficult passages, but they are buoyed by the excellent orchestra, and their preparation shows.  Of the soloists, Tenor William Hite is very good, although he does seem to muscle through his melismas and upper register - but not to a detrimental degree.  He displays wonderful tone and control, but lacking the ease of expression I would hope for.  Bass Grant Youngblood is all fiery bluster, showcasing his operatic background to good effect.  Alto Monica Reinagel is excellent - sheer perfection on her melismas, and bursting with emotional, fierce arias.  Soprano Mary Wilson is perhaps the weak link, with a too-brilliant, sometimes strident tone sneaking into her recitatives and arias, although she shines on the cheerful "Rejoice greatly."  Wynkoop seems to encourage unusual ornamentation in his soloists, leading to several ear-catching moments, including a ravishing close to "Come unto Him."  All in all, a very high middle-ground recording, with several strong points and a performance worthy of Duke University and beyond.

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