top           



home        profile        calendar        past performances        recordings        images        press        links        messages        contact


                   

                     


2008

                      

Iestyn Davies was an engaging Flavio
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...)
Flavio, Birmingham Town Hal



l

76

Iestyn Davies, crisp and alert in the title role
Flavio, Barbican, London




75

... that superb counter-tenor Iestyn Davies...


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.
71

...  a world-class singer... with a following for his opera performances and recitals in Britain and the United States...



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.
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.

 and 66

The countertenor Iestyn Davies [...] was the stand-out among an interesting quartet of soloists.

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
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.
Theodora, Edinburgh




61

Of the up and coming generation [ of countertenors ], Iestyn Davies is the pick of the bunch.

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.
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.
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.
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.


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