This recording, explain the liner notes, attempts to give the listener an authentic version of what the 13th-century listener heard in a church when this anonymous play was performed, and it succeeds with panache. The combination of Gregorian chant, declamations, and vocal solos, accompanied by lute and instrumental solos, is performed by the Mittelalter-Ensemble der Schola Cantorum Basiliensis with great fervor.
What is especially unexpected and exciting to the listener is that the songs are punctuated by exclamations, cries, and laughter. For example, "Lazarus, amicus noster dormit" starts out with a solo melody on a shawm (or a similar wind instrument), which is then picked up vocally in a repetitive, almost magical fashion, with an echo-laden crescendo. The overlay of sound is mysterious and very evocative. After a soft baritone solo, the melody is recapitulated. Then there is a sudden shriek--it is quite dramatic--and the number finishes. At this point it would have been wonderful to have a libretto of sorts to be able to follow the words closely.
This artistic reconstruction of the Carmina Burana makes more serious chant music available to the listener.