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These six Italian
cantatas... are perfectly tailored to the mellifluous, beautifully articulated, expressive countertenor voice of Iestyn Davies Geoffrey Norris, The Telegraph |
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Iestyn Davies sails
through Saget,
saget mir geschwinde with the sort of
ease that was unimaginable from a countertenor a quarter-century ago San Francisco Classical Voice Iestyn Davies’s beautifully paced and articulated Ach, bleibe doch, mein liebstes Leben [reflects] his position as one of the promising countertenors to hit the scene in recent years Andrew Benson-Wilson, Early Music Review Iestyn Davies’s plangent alto stands out among the soloists... he has this Ascension Oratorio’s plum aria Ach bleibe doch and sings it quite ravishingly Hugh Canning, The Sunday Times The more poignant sections - and there are a couple of Bach's most affecting examples, exhibited in the gorgeous arias for tenor in the Easter and for alto in the Ascension - are accompanied with thoughtful care and sung as well as we could hope for, by James Gilchrist in the former and Iestyn Davies in the latter David Vernier, ClassicsToday.com a star-studded band of soloists that include the furiously agile countertenor Iestyn Davies Kenneth Walton, The Scotsman |
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Curnyn and his talented company... shine
brilliantly: no other opera group comes close for
inspiration and authenticity. Rosemary Joshua,
Iestyn Davies, Andrew Foster-WJ1liams et al bring
this lovely work to glorious life with fizzing
ornaments and coloraturas. Michael Church, The Independent Rosemary Joshua and Iestyn Davies prove worthy modern successors (to Cuzzoni and Senesino), nicely balancing expressive weight with virtuoso vocalism. Andrew Clark, Financial Times Iestyn Davies, a singer who always makes an impression, is a real revelation in the role of Guido, the stricken fiance of Emilia. His singing overflows with emotion, but no matter how heated things get (and they do get heated), he keeps his poise, phrasing elegantly and delivering his coloratura with pinpoint accuracy. He maintains the sheer beauty of his countertenor tone even when he's spitting fury in Rompo i lacci, Guido's great revenge aria. Opera Now This is one of the most charming of Handel’s earlier operas, written around two legendary talents, soprano Francesca Cuzzoni and castrato Senesino. This new recording is exemplary, with... golden-age singing from Tim Mead, Iestyn Davies, Rosemary Joshua and Andrew Foster-Williams. Rupert Christiansen, Daily Telegraph Davies's Guido - the 'first man' part, though not the title-role - is a major achievement for the young countertenor in his first starring role on disc: his distinctive, delectably androgynous timbre in the ravishing L'armellin vita non cura which here emerges as one of Handel's greatest arias in reflective mode. He is no less compelling in bravura numbers, dashing off the coloratura volleys of Rompo i lacci with insouciant ease and consistently pearly tone. Hugh Canning, International Record Review |
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Intimacy and freshness make this a
breathtaking performance. Davies's celebrated
timbre – ranslucent, warm, pure – and the
Ensemble's imaginative additions make these
melodies expand and glow
Berta Joncus, BBC Music magazine The captivating counter-tenor voice of Iestyn Davies has already graced several recordings but this is the first CD on which he performs an entire solo programme and it is a pure delight... He is a major vocal talent that is blossoming gloriously Geoffrey Norris, Daily Telegraph [...] with a counter-tenor voice as firmly expressive and stage-worthy as his, [Iestyn Davies] deserves all his prizes. This live Wigmore Hall recital ... doesn't match all the man's charms: you can't be wickedly funny singing Handel's German Arias. But the memorial pieces by Purcell and Blow are divinely elegiac... perfect rapport with the virtuoso musicians of Ensemble Guadagni. Geoff Brown, The Times Davies is among the finest of that current crop of British countertenors equipped with intelligent, sensitive musicianship and a carefully honed technique that enables apparently easeful singing. His voice has an alluring, distinctive richness, and this recital, in which he is sensitively and variously partnered by members of Ensemble Guadagni, tells us that he's also adept at programme planning... Davies is his most affecting in the tender Süsse stille, saufte Quelle, ... even when the music is fast he maintains an essential intimacy. Stephen Pettitt, The Sunday Times [...] the countertenor of the moment with a translucent voice that has no trace of the wobbly feminine bloom or hootiness that can haunt lesser singers. Like Andreas Scholl, there is a sinewy edge to the sound that is unmistakably masculine, however ethereal the music, a quality he amply demonstrates on this... recording... choosing (and sometimes transposing) works that show off his voice to best lyrical effect, chief among them Handel's Nine German Arias, though my favourite is his simply wondrous interpretation of Purcell's sublime Evening Hymn. Stephen Pirtchard, The Guardian ... strong, precise countertenor... There'no trace in Davies' delivery of the epicene floridity to which some countertenors can be prey: rather, emotional acuity prevails, most impressively so in Purcell's Gentle shepherds, you that know, delivered with commendable poise. Andy Gill, The Independent Davies's technical brilliance never fails to impress and his performances display a vivid musical imagination and a compelling sense of rhetoric... Matthew O'Donovan, Classical Music |
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The well-rounded tone and technical
precision of Iestyn Davies's singing is easy to
enjoy, but it is equally significant that his
ornamentation in But who may abide is masterful for
its stylish vocabulary and expressive wisdom Gramophone |
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The four
illustrious soloists excel in numerous short
movements. Iestyn Davies navigates some difficult low passages without traces of strain. Gramophone |
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The piece is
delivered with passionate, almost frightening
intensity. From Polyphony under Stephen Layton's
inspired direction one expects no less: luminously
clear textures… the countertenor Iestyn Davies
as the Evangelist in particular finding in his
contributions a beautiful combination of sweetness and compassion International Record Review |
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BBC
Music
magazine's
Opera Recording of the Year 2007 click here |
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...
(and) the singing of the countertenor Iestyn
Davies (is) 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.
Fanfare Magazine
...
tenor Toby Spence at his thrilling best, the
exceptional countertenor Iestyn Davies, and three
very fine treble soloists from the New College
Choir. The Guardian
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An enthralling disc... this music grips
heart, mind and imagination alike. Exaudi are
stunning advocates... the soloists are
outstanding. This is compulsive listening for
admirers of Finnissy, and will win many converts
to his music
- BBC Music magazine ***** |
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The performers...
wholly admirable – from the collective choral singing,
with confident semi-choruses and soloists – to the
wide-ranging and ecstatic outpourings from the
astonishing Patricia Rozario. Stephen Layton had
evidently inspired all to give of their very best and
as far as I could tell this was a well-nigh-flawless
performance Classicalsource.com |
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Here they are on
excellent form and approach Tavener's blend of
cathedral mysticism and Eastern chant with an English
sense of drama. The mix is alluring and makes for an
attractive Tavener compilation Amazon |
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The St
John's choristers are excellent and they sound as though they believe in every note BBC Music |
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This is a worthwhile
buy for Finzi devotees and novices alike
Amazon |
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St John's English
Choral Music series for Naxos has won golden opinions and an award
or two but
there has been nothing better than this
Amazon Gramophone Award nomination |
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A thrilling,
soul-affirming experience
Gramophone |
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recordings as a treble |
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