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There are also reviews on the Press page

Flow My Tears

Late Tudor and Stuart lute songs by
John Danyel, Thomas Campion, Tobias Hume and John Dowland plus a new work by Nico Muhly.

Thomas Dunford, lute
Jonathan Manson, viol

Recorded live at London's Wigmore Hall, 2014

Wigmore Live CD

I’ve never met a Wigmore Hall recital disc that I didn’t like, and this lovely selection of songs for lute, viol and voice from the countertenor of the hour, Iestyn Davies, is one of the best so far. The melancholy of those well-known Dowland lute-songs, Can She Excuse My Wrongs, Flow My Tears and In Darkness Let Me Dwell, are leavened by the outright sexiness of Come Again, Sweet Love Doth Now Invite with its steady-building excitement; To see, to hear, to touch, to kiss, to die…
Sinfini Music

Iestyn Davies is ideally suited to this repertoire, his voice ethereal, plangent and effortless, his diction and phrasing responsive to the subtlest poetic nuances. […]
In short, a treasurable disc.
BBC Music magazine

This is a lovely disc, and introduces the rich world of Elizabethan lute song in superb performances. Iestyn Davies is on peak form, singing with superb control and combining a sense of line with an intense feel for the words. His diction is superb and the beauty of tone stunning. He is well partnered by the lutenist Thomas Dunford (born in Paris in 1988) and viol player Jonathan Manson. Essential listening for anyone who loves fine music and fine singing.
Robert Hugill

Davies’ effortless range and natural expressiveness give a rich, easeful glow to these performances.
The Scotsman

Nico Muhly: Two Boys

Recorded live at the Metropolitan Opera

Nonesuch Records

Paul Appleby
Christopher Bolduc
Alice Coote
Iestyn Davies
Sandra Piques Eddy
Judith Forst
Caitlin Lynch
Keith Miller
Jennifer Zetlan
Metropolitan Opera Orchestra and Chorus
David Robertson, conductor

The Art of Melancholy

Songs for voice and lute
by John Dowland et al

Iestyn Davies
Thomas Dunford, lute



…it's his thoughtful approach and artful presentation that render his performances so deeply moving. Having already shown a real connection to introspective music in his recordings of eighteenth-century music, Davies explores a variety of melancholic expressive stances with rigorous intellectual understanding funneled through a delicate and pristine vocalism that goes to the core of each poem…. poignant colourings… superb technique…
Judith Malafronte, Opera News

Davies's vocal technique is impressively secure (especially in the long-breathed, almost suspended phrases Dowland so loved)… intelligent phrasing and articulation… refined and delicately shaped performances.
Christopher Price, International Record Review

Of all the things that could have emerged from last year's Dowland anniversary, perhaps… the most devoutly to be wished
would have been… a song recital from the English countertenor of the moment Well, here it is.
[…] straightforward lyrical beauty… when (Dowland's) songs are performed as purely musically as this [there is] no need for over deliberate interpretation… Davis can reach the heart of the matter…
Lindsay Kemp, Gramophone

… flirting with lightness and wonder ('Come away, come sweet love'), wit ('Say' love' if ever thou didst find') and steely resignation ('Come, heavy sleep')... masterly control of darkened timbre ('ln darkness Iet me dwell')... The range of colour afforded to the songs by Davies yields a recital which stimulates interest and thought over its full 76 minutes, a far cry from many more monochromatic recordings of the repertoire.
Early Music Today

Davies has an unusually creamy voice and a gentle touch that make the music easy to settle into. The lute songs of John Dowland demand something more than a pleasant tone, however, and on this release Davies really shows what he can do. … In these stretches Davies advances definitively from being another pretty voice to major-artist status.
James Manheim,

Sophistication and refinement inform every note… nothing is taken for granted… I saw my Lady weep is delivered with chilly hauteur in contrast with the hot emotionalism of All ye whom love or Fortune hath betrayed and a luxuriously slow Lachrimae… this recording proves that the age of monochrome Dowland is over.
Anna Picard, BBC Music Magazine

The rarest thing in opera is a distinctive voice, and Iestyn Davies has one. It’s clear, full and plangent, with crisp diction and unassuming eloquence.
New York Times

... gorgeous collection of Thomas Dowland's lute songs… Davies' singing combines weighty physical presence with rich vocal coloration and an utterly pristine delivery, so that Dowland's melancholic songs - which can so easily sound merely mopey - emerge as stylized portraits of grief. Yet there's also an expressive urgency to these performances that rescues the undertaking from archness, and Dunford's brisk, clear playing forms a perfect counterpoise to Davies' singing. The combination is ripe, affecting and utterly beautiful.
SF Gate
Interview on singing Dowland


Arise, my muse

Works by Purcell, Clarke, Blow, Croft
and Gabrieli, recorded live at Wigmore Hall, London, on 27 February 2013

Iestyn Davies
Richard Egarr, harpsichord
Pamela Thorby, recorder
Tabea Debus, recorder
Bojan Čičić, violin
Stephen Pedder, violin
Julia Kuhn viola, violin
Mark Levy, viola da gamba
William Carter, theorbo, baroque guitar

Wigmore Hall Live WHLIVE0065

This is a disc that reminds us why live recital programmes are such a valuable part of recorded repertoire. Rather than the monochrome focus on the solo artist permitted by the artifice of the studio, we get a fully rounded musical experience that feels more satisfying both for performers and listeners.
Alexandra Coghlan, Gramophone

Posing a real threat to the supremacy of Daniels, Scholl, Jaroussky and the like, (Davies is) a rounded performer of serious heft… such innate musicality and flexibility as to efface itself into the repertoire… (Mi far Barbara and Cor ingrato despietato) offered splendid showcases to Davies's hitherto underused coloratura. His lightness of tone (which somehow still remains fully supported) flits its way with comfortable ease around even the most awkward of patterns... nothing left to be desired... Glorious music, well researched and performed with no less love than skill; the days of audiences swooning and shouting for their operatic idols may be past but just a little of the 18th-century swagger remains in these two supreme performers.…
Review of the live concert by Alexandra Coghlan, The Arts Desk


Your Tuneful Voice: Handel oratorio arias

Iestyn Davies, countertenor
Carolyn Sampson, soprano
The King’s Consort
Robert King, conductor

O sacred oracles of truth
Mortals think that Time is sleeping
Tune your harps to cheerful strains
Mighty love now calls to arm
Overture to Jephtha
Eternal source of light divine
Welcome as the dawn of day
Your tuneful voice my tale would tell
Yet can I hear that dulcet lay
Up the dreadful steep ascending
Overture to Samson
Thou shalt bring them in
Who calls my parting soul from death
On the valleys, dark and cheerless
How can I stay when love invites

CD Vivat 105, 2014

A Handel oratorio treasure trove from one of today's finest young countertenors. The voice and artistry of Iestyn Davies has always been one of the treats I look forward to... a disc where we can savour his music making at length – and it does not disappoint... a treasure trove of delights for the alto voice… don’t miss this well conceived and executed disc.
Limelight Magazine

This combination of Handel's glorious sacred and secular music is notable for Davies' evenness of mellifluous tone, great breath control and subtle phrasing. He soars spectacularly in the virtuoso numbers like Yet can I hear, and shows darker tones in the lower register in Tune your harps.
Otago Daily Times

Davies’s phrasing is immaculate, his tone pure and even.
Anna Picard, Classical Music

Davies sings with a quiet and direct sincerity that communicates superbly both text and music. Virtuosity is there when required, always at the service of the musical line and weighted with dramatic intention. A very beautiful recital, well worth adding to your collection.
Robert Perry, Royal Opera House, Covent Garden

Iestyn Davies is in fine form as he relishes the
wide-ranging vocal challenges of Handel's arias
BBC Music Magazine

Davies is in his prime of vocal flexibllly, and authoritative in modes both pious (
O sacred oracles of truth) and warlike (Mighty love now calls to arm).
Early Music Today

Collections of arias from Handel oratorios don’t come much fresher than this… the excellent counter tenor Iestyn Davies… a real treat.
Michael Dervan, The Irish Times

(Iestyn Davies) cherishes the words while negotiating the technical hurdles with amazing fluency and consistency of timbre. He never forces the tone in the voice’s upper reaches and seems so thoroughly attuned to the style and sense of the music that he is also able to bring brilliance of character to it as well… Davies’s definition of the varying moods in these arias is of an absorbing order, matched as it also is by the King’s Consort’s judicious range of colour…
a countertenor voice in its prime.
Geoffrey Norris, The Telegraph

The countertenor for people who don’t like countertenors, Davies is hard to fault for purity and evenness of tone.
Beauty of sound is allied to musicality...
Alexandra Coghlan, Sinfini Music

Davies is on top form… tone expertly controlled… ornamentation effortless… passagework thrown off with consummate agility… … the duet Who calls my parting soul from death (is) a deeply-felt duet which both singers deliver with real empathy, their singing poised and Handel’s glorious melodic lines intertwining in a most affecting way. (This is) a first class anthology of Handel arias. The singing of Iestyn Davies is a delight from start to finish and he receives ideal support from Robert King and his players.
John Quinn, Musicweb International fine a disc as James Bowman’s classic Hyperion album… Davies’s sweet, androgynous tone is near-ideal for the gorgeous Mortals think that Time is sleeping… with the lapping, watery ritornello used for Ottone in Agrippina, Handel’s Venetian opera of 1709. He is no less arresting in a bravura military number such as Mighty love now calls to arms from the rarity Alexander Balus. Enthusiastically recommended.
Hugh Canning, The Sunday Times (CD of the Week)

Iestyn Davies brings a grace and calm entirely appropriate to these Handel arias. The stepped ornamentation of Mortals Think That Time Is Sleeping is no showboating exercise, but an elegant ascent of a sweeping staircase… in a baroque extension of a Purcellian format, solo trumpet emphasises the sombre nobility of his phrasing on Eternal Source of Light Divine. Throughout, Davies’ control is remarkable.
Andy Gill, The Independent

… a recital of alto arias from Handel's English oratorios, sung with quite astonishing beauty… Davies's extraordinary evenness of tone, his immaculate breath control and the rapt subtlety of his phrasing. But the handful of virtuoso arias
are delivered with terrific panache and a bravura technique that is second to none.
Tim Ashley, The Guardian

This is a highly recommended disc in which Iestyn Davies certainly does not tread the well trod path of alto arias from Handel's oratorios… and the disc shows off Iestyn Davies's voice, one of the most beautiful around today, to perfection.
Robert Hugill


B Britten: Canticles

Mark Padmore
Iestyn Davies
Marcus Farnsworth
Julius Drake
Lucy Wakeford

Wigmore Hall Live
CD WHL0064 2013

Davies sings with a lovely sense of line and some
superbly floated high notes. The farewell duet between (Abraham and Isaac) is profoundly moving

Robert Hugill

The leaping octaves of Davies’ unaccompanied line
betrayed the equivocal emotions of the young boy,
at once both steadfast and fearful, while his plea,
Father, do with me as you will, was affectingly eloquent.

Clare Seymour, Opera Today (review of the live concert)


DVD: T Adès: The Tempest

Simon Keenlyside, Prospero
Isabel Leonard, Miranda
Audrey Luna, Ariel
Alan Oke, Caliban
Alek Shrader, Ferdinand
Kevin Burdette, Stefano
Iestyn Davies, Trinculo
Toby Spence, Antonio
Christopher Feigum, Sebastian
John Del Carlo, Gonzalo
William Burden, King of Naples
Metropolitan Opera Chorus
Metropolitan Opera Ballet
Metropolitan Opera Orchestra
Thomas Adès, conductor
Robert Lepage, stage director

Deutsche Grammophon
DVD 0440 073 4932
All regions


Winner of 2014 Grammy for Best Opera Recording


J S Bach: Christmas Oratorio

Katherine Watson
Iestyn Davies
James Gilchrist
Matthew Brook
Choir of Trinity College Cambridge
Orchestra of the Age of Enlightenment
Stephen Layton

Hyperion CD 0C12A124 A610F01D

The playing is joyous, spirited, and alive,
while the whole solo crew is intensely engaged
and the chorus nothing short of outstanding.
Audiophile Audition

Album of the week on Classic FM UK
David Mellor, 9 November 2013

Iestyn Davies… an achingly beautiful account...

Review of  2010 live performance
Melanie Eskanazi at


Handel: Belshazzar

Allan Clayton, Belshazzar
Rosemary Joshua, Nitocris
Sarah Connolly, Cyrus
Iestyn Davies, Daniel
Neal Davies, Gobrias
Les Arts Florissants
William Christie

3 CD
Les Arts Florissants Editions 2013

Countertenor Iestyn Davies portrays the prophet Daniel with his customary elegant phrasing and musical sensitivity, elevating the character from a stock pious figure with his honorable rejection of reward ("No, to thyself thy trifles be") and an imaginative reading of the enigmatic handwriting, using striking vocal colors for a solemn, trance-like interpretation.
Judith Malafronte, Opera News

Iestyn Davies is poised and pure-toned
as the prophet Daniel
Anna Picard, / BBC Music Magazine

estyn Davies’s performance was, as usual with that amazing singer, beautiful and compelling beyond words.
Review of the live London performance
 Michael Church, The Independent

CD CHANDOS ANTHEMS 2013 Handel: Chandos Anthems 5a, 6a, 8

Susan Gritton
Thomas Hobbs

Iestyn Davies 
Choir of Trinity College Cambridge
Orchestra of the Age of Enlightenment
Stephen Layton

Hyperion CDA67926

The vastly experienced Susan Gritton and Iestyn Davies
add warmth and depth to the glorious
range of tone colours…

CD SJP 2012 Bach: St John Passion

Neal Davies

Carolyn Sampson
Iestyn Davies
Ian Bostridge
Nicholas Mulroy
Roderick Williams
Orchestra of the Age of Enlightenment
Stephen Layton

Hyperion CDA67901/2
2 CD

Has Iestyn Davies ever sung anything better than this?
Andrew MacGregor, BBC Radio 3 CD review

Works by Purcell and Humfrey

Iestyn Davies

Neal Davies
James Gilchrist
Choir of St John's College, Cambridge
St John's Sinfonia
Andrew Nethsingha

Chandos 0790
Booklet PDF here.

DVD: Rodelinda

Metropolitan Opera 2011 production
Live recording

Renee Fleming, Rodelinda
Andreas Scholl, Bertarido
Iestyn Davies, Unulfo
Stephanie Blythe, Eduige
Joseph Kaiser, Grimoaldo
Metropolitan Opera Orchestra
Harry Bicket, conductor

Decca 0743469
NSTC all regions

Sound the Trumpet

Alison Balsam, trumpet

The English Concert
Trevor Pinnock

Iestyn Davies duets with Alison Balsam in Purcell’s Sound the trumpet and Handel’s Eternal Source of light divine

EMI  4403292  2012

get it at iTunes

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Guadagni Arias for Guadagni


Jonathan Cohen, cello, director

Hyperion CDA67924

  get it at Hyperion

  get it at iTunes 


 Gramophone Award Video

Nominee, South Bank Sky Arts Award
Best Classical recording category, 2012

Guadagni invariably drew applause for his ‘impassioned and exquisite manner of singing the simple and ballad-like air Che farò'. The same epithets could apply to Iestyn Davies’s singing. He phrases with natural eloquence, unexaggeratedly alive to the meaning and colour of words. Crucially, too, he never forces his high notes. The climax of Che farò is all the more touching for its restraint. Davies… balances elegance and vehemence in the coloratura flourishes of Cyrus’s Destructive war (Belshazzar). A bellicose ‘vengeance’ aria from Arne’s Alfred goes with a comparable swing. O Lord, whose mercies (Saul) [is] the very voice of balm, cushioned by ravishing soft strings. [An] imaginative, consummately sung programme from the brightest star among young British countertenors.
Richard Wigmore, Gramophone

Disque du moins: Délicatesse, éloquence : on ne pourrait mieux définir la manière de Iestyn Davies, musicien raffiné, musicien avant toute chose, à l’instar de Guadagni, et non pas rossignol. Légère mais ferme, homogène, couronnée d’aigus ronds et purs, bien timbrée avec parfois de très légères nasalités qui en font aussi le charme, so british, sa voix recèle également ce mélange de douceur et de grâce adolescentes qui séduisait tant chez le jeune Bowman, mémorable David (Saul) au début des années 70. La magie opère souvent... et le sens du récit, de la progression comme la justesse des affetti forcent tout particulièrement l’admiration chez Gluck. Même Guadagni pouvait assumer la virtuosité, pourvu qu’elle servît l’expression... La bravoure sied sans doute un peu moins à la vocalité de Iestyn Davies, mais il a plus de ressources qu’on ne pourrait le croire et sait en tirer parti.
Bernard Schreuders,

Through his effortless line, countertenor Iestyn Davies revivifies Guadagni's Orphic powers. He is particularly breathtaking in works by Handel, Arne and John C Smith, all of which were designed to show off the castrato's pellucid timbre. Whether drawing out sustained notes or knitting together filigreed coloratura, he is a paragon of gallant taste: poised, cool and elegant. This is the world premiers recording of Guadagani's own composition, Pensa a serbami, o cara, and many other arias here are rarely heard;
Davies makes us wonder why.
Berta Joncus, BBC Music magazine

... fine, beautifully sung programme ... If Guadagni was noted for the delicacy of his phrasing and the richness of character in his voice, Davies fully emulates him in these performances of arias by Handel, Hasse and Arne, with defining interpretations of extracts from Gluck’s Orfeo and an eloquently poised aria by Guadagni himself

Geoffrey Norris, The Telegraph

Davies includes some of the showstoppers written for Guadagni by Handel and Arne, delivering them
with wonderful finesse and flawless tone.
Tim Ashley, The Guardian

It's a beautiful recital: 78 minutes of pure bliss
for connoisseurs and beginners alike. Five stars.
David Mellor, Daily Mail

Iestyn Davies sings (these arias) superlatively well.
Hugh Canning, The Sunday Times

This magical disc...
Michael Dervan, The Irish Times

Porpora Porpora: Cantatas

Arcangelo, director (and cello) Jonathan Cohen

Kristian Bezuidenhout, keyboard
Peter Whelan, bassoon
Siobhan Armstrong, harp
Monica Pustilnik, lute and guitar
Judith Evans, double bass
Stephanie-Marie Degand, violin
Rebecca Miles, recorder

Hyperion CDA67894

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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

Linn Bach Easter Ascension Retrospect                            Iesyn Davies Bach: Easter Oratorio,
Ascension Cantata

Retrospect Ensemble
Matthew Halls
Carolyn Sampson
James Gilchrist
Peter Harvey

Linn Records CKD373

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Davies continues to prove himself one of the most interesting, versatile and polished performers
before the public.
Opera News

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,

a star-studded band of soloists that include the furiously agile countertenor Iestyn Davies

Kenneth  Walton, The Scotsman

Handel: Flavio, Re de' Longobardi, HWV 16 (1723)

Iestyn Davies (Guido), Tim Mead, Rosemary Joshua, Renata Pokupic, Hilary Summers, Thomas Walker, Andrew Foster-Williams

Early Opera Company
Christian Curnyn

Chandos, CHAN 0773(2)


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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-Williams 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

Iestyn Davies Wigmore Hall Iestyn Davies & Ensemble Guadagni

The concert at Wigmore Hall on 6 June 2009.

G F Handel's Nine German Arias plus works by Blow, Buxtehude and Purcell.



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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

Iestyn Davies Messiah Handel's Messiah

Julia Doyle
Allan Clayton
Andrew Foster-Williams
Polyphony, Britten Sinfonia
Stephen Layton

Hyperion CDA67800

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

DVD: Purcell's Dido & Aeneas

Royal Opera House, Covent Garden

Sarah Connolly, Dido
Lucas Meachem, Aeneas
With Lucy Crowe, Sara Fulgoni,
Anita Watson, Eri Nakamura, Pumeza  
Matshikiza, Ji-Min Park
Iestyn Davies as the Spirit
The Royal Ballet
The Royal Opera Extra Chorus
Orchestra of the Age of Enlightenment
Conductor: Christopher Hogwood

Opus Arte OA1018D


Poppea DVD  
DVD: Monteverdi's L'Incoronazione di Poppea

Glyndebourne Festival Production

Orchestra of the Age of Enlightenment
Emmanuelle Haïm

Decca PC70229


                              Anthems Iestyn Davies Hyperion Handel's Chandos Anthems 7, 9 and 11

Emma Kirkby, Iestyn Davies, James Gilchrist, Neal Davies, The Academy of Ancient Music, Trinity College Choir, Stephen Layton.

Listen to clips here



The four illustrious soloists excel in numerous short movements. Iestyn Davies navigates some
difficult low passages without traces of strain.

Lukaszewski Via Crucis CD cover
Polyphony, Britten Sinfonia, Stephen Layton



Listen to clips here

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

Vivaldi's La Griselda

Ensemble Matheus

Jean-Christophe Spinosi

Naiïe OP30419


BBC Music magazine's
Opera Recording of the Year 2007

click here

                            New College Iestyn Davies
Handel's Messiah

Choir of New College, Oxford
Academy of Ancient Music
Edward Higginbottom

Naxos 8.570131-32


... (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.

... 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


Kingdom of Heaven

Movie soundtrack

Sony Music


Michael Finnissy
Maldon and other choral works


NMC D1110


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 *****

Tavener: The Veil of the Temple

Temple Church Choir, Holst Singers
Stephen Layton

RCA Red Seal


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

Jean Mouton: Nesciens Mater

The Gentlemen of St John's

Graham Walker

Quilisma Records QUIL402


Tavener: Christmas Proclamation,
Song for Athena

Choir of St John's College, Cambridge

Christopher Robinson



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

Rubbra: Nine Tenebrae Motets,
Missa Cantuarensis

Choir of St John's College, Cambridge

Christopher Robinson



The St John's choristers are excellent and they sound
as though they believe in every note
  BBC Music

Finzi: Lo, the Full, Final Sacrifice

Choir of St John's College, Cambridge

Christopher Robinson



This is a worthwhile buy for Finzi devotees and novices alike

Mysterium: Sacred choral works

2002, Vermeeren Music Productions

The Gentlemen of St John's

Samples here

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Walton: The Twelve
and other choral works

Choir of St John's College, Cambridge

Christopher Robinson



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
Gramophone Award nomination

Stanford: Anthems and Services

Choir of St John's College, Cambridge

Christopher Robinson



Iestyn Davies Leighton
Leighton: Sacred Choral Music

Choir of St John's College, Cambridge

Christopher Robinson



A thrilling, soul-affirming experience

Recordings as a treble

Purcell: Timon of Athens
Collegium 90
Richard Hickox



Allegri, Lassus, Palestrina: choral works
Choir of St John's College, Cambridge

CFP 1995

Charpentier: Messe de Minuet pour Noël; Poulenc Motets
Choir of St John's College, Cambridge