The blog post in question kind of touched a nerve with me because it brought to light some of the problems I've had with Byzantine liturgy.Such as?
Well, sometimes I feel as though the hymnography tries to much to be a real long theological discourse. I know that liturgy is a huge source of theology, but still, it seems that there's not much room for concision.
Also, I love Gregorian chant. And Latin.
I hate to be a sexist, but there is something otherworldy holy when only men chant in Gregorian in monophonic.
Then again certain Byzantine chants have blown me away recently...
I have to say I concur. I have 3 Fontgombault recordings as well as several other Solemses. and three of the Spanish monastery that had that platinum album (as well as a few others) and I have the Voices CD from Avignon (the one where Decca went to various female convents to decide the best one and is very critically acclaimed) and another formerly famous female one and the males are just heads and tails above the ladies. I do have an Ambrosian Chant CD with all women and it is very good as well as one of the Gloria Del Cantores with either women or girls (maybe both but they do have at least girls and boys) and it is very good.
However Ive always preferred women for modern music. Like Harriet Wheeler of The Sundays or Dolores O'Riordan of the Cranberries, Leigh Nash of Sixpense none the Richer, Alison Krauss, Natalie Merchant, or Fiona Apple, or Jasimine Rogers formerly of Boa (hardly anyone has heard of them).