Iestyn Davies press clippings

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	2008
	Iestyn Davies was an engaging Flavio Financial Times Flavio, Barbican, London	78
	Iestyn Davies (soon to play Ottone in Glyndebourne's L'incoronazione di Poppea) was impressive MusicOMH.com Flavio, Barbican, London	77
	Flavio himself was sung by Iestyn Davies, one of a remarkable pair of countertenors (the other was Robin Blaze...) Birmingham Post Flavio, Birmingham Town Hal l	76
	Iestyn Davies, crisp and alert in the title role Evening Standard Flavio, Barbican, London	75
	... that superb counter-tenor Iestyn Davies... Independent	74
	Another debutant, countertenor Iestyn Davies, made a good impression New York Sun King Arthur, New York City Opera	73
	... impressive work. New York Times King Arthur, New York City Opera	72
	This is a voice that is going to make waves for a long time to come. [...] Davies sounds like a tenor in his lower range, yet makes a seamless transition to falsetto [... so] the voice retains its masculinity and power. But these would mean little without his musicality and, more tellingly, his composure. He remained unfazed through acres of demanding ornamentation, all of which he slotted in without compromising his rhythmic momentum. To his extended aria within Blow's ode on Purcell's death he brought an icy cool that was breathtaking. Martin Dreyer, York Press	71
	... a world-class singer... with a following for his opera performances and recitals in Britain and the United States... The Press	70
	2007
	[Guadagni's] arias [...] are magnificently sung here by Iestyn Davies. His But who may abide evokes the refiner's fire vividly yet without exaggeration, his ornamentation is neat and appropriate but not gaudy, and, above all, he imbues the piece with a wonderful sense of trepidation, typical of a reading of the whole oratorio which has clearly been meticulously thought through with the aim of bringing out all the meaning in the text [...] the awed expressiveness of Behold a virgin shall conceive [...] As a result it is far more than a successful exercise in historical reconstruction, and must qualify as one of the finest available recordings of Messiah [...] sure of a place in every Baroque connoisseur's CD collection. Elizabeth Roche, Early Music Journal Messiah recording	69
	The countertenor Iestyn Davies [...] has a very special quality. It's not just the sound – poised and pure, a true male alto – but the unpretentious honesty of his artistry that touches us. He was despised emerged like the still centre of the entire evening, with each restatement of the words left hanging in the air, while Handel's pained string ritornello reflected on their consequences. The Independent Messiah, Barbican	68
	Countertenor Iestyn Davies was, meanwhile, a treat, his enunciation a model of clarity and his bell-like, focused sound caressing every one of Handel's melodic lines. In the Part Three duet O death, his firmly-placed, pure tone... Dave Paxton, musicOMH.com Messiah, Barbican	67
	Iestyn Davies was called upon to take the countertenor role, and he did it with great style, his polish remarkable although, perhaps perversely, this critic felt sad that all the boyish nervousness seemed to have gone from his attack, and been replaced with a Bowman-like elegance. No matter - Then shall the eyes of the blind be opened was typical of his moving recitative, and He was despised hit exactly the right balance between sentiment and drama. Melanie Eskenazi , Seen and Heard Messiah, Barbican	and 66
	The countertenor Iestyn Davies [...] was the stand-out among an interesting quartet of soloists. Martin Kettle, The Guardian Messiah, Barbican	65
	The rounded, finely tempered voice of countertenor Iestyn Davies gave his substantial role impressive command The Echo Messiah, Bournemouth	64
	... the mellifluous countertenor Iestyn Davies... Glasgow Herald Theodora, Glasgow	63
	Iestyn Davies as Didymus sounded beautiful throughout Rowena Smith, The Guardian Theodora, Edinburgh	62
	Only a countertenor of Iestyn Davies's dramatic and vocal assurance could deliver the line,'I am a Christian', and hold an audience in rapt attention. But rapt we were [ ... ] The quartet of solo violin, cello, theorbo and harpsichord accompanying Didymus in Sweet Rose and Lily was a particular delight. Mary Crockett, The Scotsman Theodora, Edinburgh	61
	Of the up and coming generation [ of countertenors ], Iestyn Davies is the pick of the bunch. Glasgow Herald interview	60
	newsflash The Herald (Glasgow, Scotland) profiles Iestyn Davies in an article here. Also here as PDF.	59
	I do not think that I will ever hear a performance of [ Britten's ] Canticles as magnificent as John Mark Ainsley's with the brilliant young countertenor Iestyn Davies John Gilhooly, Director, Wigmore Hall Wigmore Hall Annual Report	58
	Iestyn Davies strengthens his growing reputation as an up-and-coming countertenor, intelligent in his handling of text, vocally gorgeous in La rondinella amante and dazzling in the hunting aria Alle minacce di fiera belve, holding his own against the forceful orchestration. Glyn Pursglove, Musicweb La Griselda recording	57
	The young countertenor Iestyn Davies gave, quite simply, the finest performance of [the 2nd movement solo] that I’ve ever heard. His plangent timbre and expressive voice was ideally suited to the music. John Quinn, Seen & Heard Bernstein's Chichester Psalms, Cheltenham Festival	56
	I liked Iestyn Davies' countertenor Voice of Apollo. Michael Kennedy, Opera magazine Death in Venice, English National Opera	55
	The voice of countertenor Iestyn Davies, as Apollo, is magically pure in tone. William Parsons, The Lady Death in Venice, English National Opera	54
	Countertenor Iestyn Davies as the Voice of Apollo makes a strong impression. ukgay.com Death in Venice, English National Opera	53
	Iestyn Davies (as Apollo) sang excellently. classicalsource.com Death in Venice, English National Opera	52
	Iestyn Davies makes much of the small role of Apollo - dressed, interestingly enough, as Tadzio's double - thanks to an unusually vibrant countertenor. John Allison, Seven Magazine/Sunday Telegraph Death in Venice, English National Opera	51
	... and Iestyn Davies, as the Voice of Apollo, [ is ] first class. Hugh Canning, The Times Death in Venice, English National Opera	50
	... countertenor Iestyn Davies, singing the part of Apollo, looked and sounded strong and Apollonian. Agnes Kory, Musical Criticism Death in Venice, English National Opera	49
	We lose some of the words of the chorus but not of [ ... ] Iestyn Davies's bright countertenor Apollo Erica Jeal, The Guardian Death in Venice, English National Opera	48
	Iestyn Davies brings an unearthly quality to the Voice of Apollo The Stage Death in Venice, English National Opera	47
	Iestyn Davies, an earthbound Apollo with a full and resonant countertenor Simon Thomas, musicomh.com Death in Venice, English National Opera	46
	... the atmosphere of the “Greek games” is immensely enhanced by Iestyn Davies’s vibrant countertenor as the Voice of Apollo. Richard Morrison, The Times Death in Venice, English National Opera	45
	Iestyn Davies, in the countertenor role of Apollo, had bell-like clarity Fiona Maddocks, London Evening Standard Death in Venice, English National Opera	44
	news flash ! La Griselda CD wins BBC Music magazine Award 'Opera Recording of the Year 2007' - click here for details.	43
	Iestyn Davies... deeply expressive Barry Millington, London Evening Standard St Matthew Passion, Royal Albert Hall	42
	The quality of the playing on the Naxos recording is, along with the singing of the countertenor Iestyn Davies, enough to justify buying it... (his) He was despised ranks with the best I know. This is one area where the Naxos recording scores (over the Jacobs, Harmonia Mundi record) in that Iestyn Davies provides the excitement that Zazzo lacks. Melanie Eskanazi, Fanfare Magazine Recording: Handel's Messiah	41
	2006
	... the performance of the complete Canticles by the Nash Ensemble with Iestyn Davies and John Mark Ainsley, would be outstanding [ among 2006 performances ] for its unmatchable singing, its finely judged drama and its overwhelming commitment. Seen and Heard's Review of the year 2006 (Melanie Eskanazi)	40
	The counter-tenor Iestyn Davies continues to grow in musical stature. He has a gravitas about his singing which might seem at odds with his youth, yet which is entirely fitting – ‘But who may abide’ and ‘He shall feed his flock’ were both ideally balanced between the sombre and the quietly joyful, and ‘He was despised’ was finely phrased and beautifully coloured. Melanie Eskanazi, Musicweb Handel: Messiah, St John's Smith Square	39
	a convincing, unshrill sound Charles T Downey, ionarts La Griselda recording	38
	Davies was the ideal Isaac: his youthful tone made his music especially poignant, and he was at one with [ John Mark ] Ainsley in his highly charged yet never overplayed interpretation: ‘Father, seeing you must needs do so / let it pass lightly, and over go’ can hardly have left a dry eye in the house. Melanie Eskanazi, Musicweb Britten: Canticles, Wigmore Hall	37
	... the exceptional countertenor Iestyn Davies... Tim Ashley, The Guardian Handel's Messiah (Higginbottom recording)	36
	... (John Mark) Ainsley as Abraham ideally partnered by the unconstrained, mellifluous Isaac of countertenor Iestyn Davies; their backs to the audience, they joined in a spine-tingling duet to represent the disembodied voice of God. Erica Jeal, The Guardian Britten: Canticles, Wigmore Hall	35
	... as fine musically as [ he is ] foul dramatically. Stephen Walsh, The Independent Il ritorno d'Ulisse in patria, WNO	34
	... particularly fine singing... Bill Kenny, MusicWeb Il ritorno d'Ulisse in patria, WNO	33
	the countertenor Iestyn Davies and the tenor James Gilchrist are especially welcome, marrying words to vocal line with winged strength. Alastair MacAulay, The Times King Arthur, ENO
	Countertenor Iestyn Davies... has a markedly focused sound and presence. Variety King Arthur, ENO	32
3	I should like to have heard the countertenor Iestyn Davies sing [ Fairest Isle ]. His number summoning the battle-weary heroes to Woden's Hall was splendid. It's a smashing voice and he has real stage presence. Edward Seckerson, The Independent King Arthur, ENO	31
	... sensitive singing... Anna Picard, Independent Online King Arthur, ENO	30
	Iestyn Davies is clearly a countertenor to watch Metro King Arthur, ENO	29
	I wanted to take the countertenor Iestyn Davies home with me Bloomberg King Arthur, ENO 30	28
	Countertenor Iestyn Davies delights with his smooth, expressive tone musicOMH.com King Arthur, ENO	27
	... Iestyn Davies and his superbly controlled countertenor voice as Hamor BBC Bristol Jeptha, WNO	26
	Iestyn Davies in the BBC Radio 3 studio - March 2006 - click here	25
	Interview with Iestyn Davies at Opera Today - click here	24
	Special mention should be made of the bell-like voice of Iestyn Davies as the distraught, betrothed Hamor. The clarity and range of this countertenor was breathtaking and his breath control during the trills and runs was fantastic. MiltonKeynes.com Jeptha, WNO	23
	... the rich beauty of countertenor Iestyn Davies' voice was used to full effect in Es ist vollbracht. Glasgow Herald St John Passion	22
	He has it all. His prodigious natural gifts include a beautifully cultivated, flexible and agile voice, a sense of the shaping of a phrase very rare in so young an artist, and a very engaging stage presence... one can only imagine how far he will go. I have seldom heard He shall feed his flock sung with more sheer vocal beauty, or He was despised given with so much tenderness. musicweb Messiah	21
	... beautifully articulated and affecting singing... The Guardian Jeptha, WNO	20
	2005
	The young Iestyn Davies proved to be a discovery with his expressive countertenor which radiated great naturalness. Dresdner Neueste Nachrichten Messiah	19
	Another strong performance from the young countertenor Glasgow Herald BWV 170	18
	Countertenor Iestyn Davies, a young singer to watch, was extremely impressive as the noble high priest, Joad. Glasgow Herald Athalia	17
	Counter-tenor Iestyn Davies, as Joad, stole the show with a beautifully nuanced performance, authoritative, emotional and lusciously sung. The Scotsman Athalia	16
	This young countertenor is exceptional. A true countertenor, not a male alto masquerading as one, his voice is rooted as a baritone, the richness of his low register singing having fine tonal quality, while its top, alto range is firm and full. Sheffield Telegraph English songs of the 16th century	15
	On retiendra particulièrement Iestyn Davies, jeune contre-ténor à la voix puissante et bien timbrée. Le Progrès La Griselda	14
	Iestyn Davies a un timbre de contre-ténor riche et bien sonnant. Son phrasé est simplement encore un peu raide et son legato perfectible. Operabaroque.com La Griselda,	13
	Superbe! Une voix claire mais puissante, j'ai hâte de le ré-entendre. Do-si-do La Griselda	12
	Iestyn Davies est l'autre grande découverte de la soirée. Ce tout jeune contre-ténor est un chanteur à suivre car il montre une voix puissante, franche et ensoleillée. Son chant est loin d'être dépourvu de musicalité comme le démontre son second air La rondinella amante: il donne des notes très légères, aériennes pour souligner l'intensité de ses propos. Mais il est également capable d'imposer un engagement important dans Alle minaccie di fiera belva, duo avec un cor, à travers les différents "r" et "t" qu'il accentue violemment. Manon Ardouin, Concertonet La Griselda	11
	… outstanding BBC Music Magazine Finnissy Anima Christi (Exaudi recording)	10
	2004
	Nos papéis de solista destacou-se o jovem contratenor Iestyn Davies, numa interpretação que rondou o superlativo. Não é difícil antever-lhe uma carreira de grande sucesso. Cultura Messiah	9
	There were very many stylish contributions but perhaps none that augurs better for Baroque performance in the immediate future than that of countertenor Iesty Sn Davies. Milton's line juxtaposes gorgeous with tragedy. Davies's voice memorably combined the two. The Guardian L'Allegro, Il Penseroso ed il Moderato, Snape Proms	8
	... the ornamentations and expression... such artistry!... Terence Best Giulio Cesare arias	7
	... Iestyn Davies, who proved himself to be that rare creature, a truly virile and sensuous countertenor. He was a star in a Messiah that managed to combine earthy vigour with the dignity demanded by its subject. Irish Times Messiah	6
	Iestyn Davies's countertenor was simply wonderful, with impeccable intonation. His caricature of a mad lepidopterist - desperate to make his catch - was artfully drawn and, if this rich sound is what Davies achieves in the open air, one can only imagine how it will be in more resonant circumstances. Opera Il Tempesto Tutore,	5
	Countertenor Iestyn Davies was particularly outstanding as Orpheus www.dailyinfo.co.uk The Story of Orpheus	4
	... spine chilling... Opera The Story of Orpheus	3
	Davies' alto burnt fiercely in the title role The Times The Story of Orpheus	2
	As soon as he bounded on to the podium, we felt we were in safe hands. Here was a young man who really meant business: a fantastic combination of amazing voice and maturity of character BBC Radio 3 Early Music Show London Handel Competition	1