'Harvey's liturgical drama is sometimes claimed as the first operatic setting since the middle ages of the passion story (Michael Wadsworth's text is a translation of a 12th-century Latin passion play).
However, more relevant comparisons would be with Bach's Passions - it's set within the context of the Eucharist, and includes hymns sung by the audience - or with Britten's Church Parables, which were clearly a model for the plainsong-rooted calls and responses with which Harvey's work begins.  What begins austerely and ritualistically, though, becomes more florid in the final scenes.  It's an effective musical plan, and this BBC recording … should encourage other choirs to investigate it further.'
The Guardian (Andrew Clements), 3 September 2004

'Passion and Resurrection is without doubt an outstanding sacred work of the 20th century.'
Choir & Organ, November 2004

'… it left a remarkable impression - a 90 - minute work of controlled mastery, economical in its forces, sure in their employment, and hypnotically powerful in overall effect… The sum is a purposeful, compelling modern revival - from the inside, as it were - of an ancient artistic form.'
Financial Times (Max Loppert) 13 March 1993

'The work is austere but intently composed, with Harvey's command of eloquent interval, telling rhythmic declamation, exactly spaced harmony… instant-ecstasy holy music that stands high on today's charts.'
The Observer (Andrew Porter) 21 March 1993

‘… a cunning blend of simple dramatic imagery and apparently effortless musical subtlety and elegance.’
The Observer (Stephen Walsh)

‘Passion and Resurrection is a work of stunning simplicity – simplicity not of means but of the end they serve.  The drama grows directly out of the communion liturgy … The basis of the score is plainsong; the voice parts, especially in the scenes of Jesus’ arrest, trial and death, are extensions of it, and at three points plainsong hymns are sung by the audience/congregation, while organ and orchestra surround the unison chant with a vast pulsating halo of chord-clusters.  Harvey’s involvement of all the participants is no mere nod to the middle ages but is central to the spirit and purpose of the work.’
The Sunday Times (David Cairns)