"An all-Brahms concert to commemorate the centennial of the composer's death seemed ideally conceived. . . . The Requiem featured more than 300 singers backed by a considerably augmented Oklahoma City Philharmonic. Doubling Canterbury's forces added depth and brilliance to a performance that could only be called inspirational. The richness of the choral sound, the blend and the control with which music director Dennis Shrock molded this performance was a real tour de force."

"Canterbury's recent season finale . . . featured a quartet of rarely performed works by Brahms and Bruckner. The [performance of] the Alto Rhapsody . . . was noble. . . . Bruckner's Helgoland had moments that were unashamedly thrilling, and despite the work's tendency towards excess, Shrock kept all elements well balanced. Brahms' Schicksalslied was noteworthy for the excellent control exhibited by the 150 Canterbury singers, but equally so for some lovely orchestral passages that were given their full due rather than being treated simply as breathers for the chorus. The Bruckner Te Deum was majestic and powerful."

"Canterbury Choral Society opened its 27th season with Berlioz's great masterwork, one of the repertoire's most demanding scores. . . . The well-rehearsed Canterbury chorus provided this performance with much of its punch. . . . [However,] equally impressive were the work's subtle moments and the singers' mastery of an implied delicacy."

"In the quietly powerful choral entrance to the fifth movement, Canterbury’s singers managed to blend into one perfect voice. . . . It was an indication of the great Canterbury sound Shrock has achieved. . . . After this test of vocal purity, the chorus rose to great dramatic heights in the remainder of the finale."

"Music Director Dennis Shrock had prepared his ensemble exceedingly well for the rigors of these brilliant works and the singers willingly responded to his every demand. The Gloria, with its jaunty march tune, was suitably exuberant while the work's opposing quiet moments were no less urgent or polished. . . . Despite the solemnity of the Stabat Mater text, the music is vibrant and infused with an urgency that one tends to associate with some of Verdi's great operatic choruses. Such moments were well served by Shrock, who kept a nice balance between that grandeur and the work's drama while coaxing some glorious sounds from his singers. The Te Deum calls for even grander gestures and Shrock responded with his usual enthusiasm and dedication to revealing the composer's intentions."