Doesn't it upset you, the way they always stress the wrong syllables? The way they stretch out the short ones, and skip over the long ones?
o vaaariUM fortune luBRIIIcum
daaans duuubiUM tribunal iiiUDicum
huic they sing as two longs; colere and petere with a stress on the final syllable. With "Prepostere" which could have fitted easily to their metre (e.g. preeePOSTere), they managed to shift the emphasis onto prepostEEEre. 'de stercorEEEE paupEEEErem erIIIgens, de rhetorEEE consUUUlem elIIIgens'.
This sort of thing doesn't bother me with Stravinsky -- there's plenty of similar distortions of accent and quantity in the Symphony of Psalms, for instance. I wonder why I accept it there and not here. Partly because I think Stravinsky made the choice deliberately, as part of his general programme of questioning and rethinking musical 'givens'; and suspect that this group do it out of ignorance, carelessness, who-gives-a-shit. And that makes me angry, because I think, why bother doing it in Latin then? And finally the awful pomposity of the music hits me: ah, that's why they do it -- obfuscation and faux grandeur. A bit like all those Latin tattoos.
It never makes me happy to dislike something -- especially knowing how hard these things are to do at all.
Stravinsky: exaudi orationem meam domine...
(singing starts at 0.49)