In trying to keep my report short, I misled. As Surreysinger says, Barry wasn't advocating using single voices for the different characters, but different combinations and types of harmony here and there, giving a subtly different vocal tone.

Applying vocal harmony to ballads is certainly dangerous territory; it's very difficult to do well. The Claque do a superb job, as do Craig Morgan Robson, but it requires great skill and delicacy not to hamper the forward movement of the narrative or put the tune in a straightjacket. (When the chaps did Henry Vth, they created a powerful feeling of an army on the march.)

I can think of one ballad which might respond well to single voices for single characters: Robin Hood and the Tanner. Most of the text is dialogue and most of the dialogue is also in the mumming play of the same name; it's comic, and could stand being hammed up. Generally, though, I suspect the technique wouldn't feel right for the way ballads tell stories: nevertheless I'm ready to be proved wrong by a good example.

Valmai (Lewes)