Your Tuneful Voice: Handel Oratorio Arias
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Label: Vivat
Cat No: VIVAT105
Format: CD
Number of Discs: 1
Genre: Vocal/Choral
Release Date: 10th February 2014
Contents
Works
Alexander Balus, HWV65Samson, HWV57
Artists
Iestyn Davies (countertenor)Carolyn Sampson (soprano)
Crispian Steele-Perkins (trumpet)
The King’s Consort
Conductor
Robert KingWorks
Alexander Balus, HWV65Samson, HWV57
Artists
Iestyn Davies (countertenor)Carolyn Sampson (soprano)
Crispian Steele-Perkins (trumpet)
The King’s Consort
Conductor
Robert KingAbout
Eleven varied solo arias include ‘O sacred oracles of truth’, the delicate ‘Tune your harps’, ‘Eternal source of light’ (with supreme trumpet playing from Crispian Steele-Perkins), the melodious ‘Your tuneful voice’ and the virtuoso ‘Mighty love now calls to arm’, as well as rarities including ‘On the valleys, dark and cheerless’ and an especial jewel, ‘Mortals think that Time is sleeping’.
Iestyn is joined in two glorious duets by soprano Carolyn Sampson, including the ecstatic ‘Welcome as the dawn of day’ and the ghostly ‘Who calls my parting soul from death’.
Recorded in the well-nigh perfect acoustic of Menuhin Hall with a large and colourful orchestra, who also contribute two splendid overtures.
36 page booklet with authoritative liner note (in three languages) by renowned Handel scholar Prof Donald Burrows, together with full texts, and 16 photos from the recordings.
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The Europadisc Review
With so many complete recordings of Handel's oratorios now available – not just the old favourites, but all of them – is there still a market for recital discs of individual items taken from various works? When the singer is of the quality of countertenor Iestyn Davies, the answer is surely a decisive 'Yes!'
This new disc on the King's Consort's fast expanding Vivat label is a model for how such recitals should be planned. The arias themselves are judiciously divided into three groups by the inclusion of two purely orchestral overtures, from Jephtha and Samson, and provide a kaleidoscopic illustration of Handel's writing for the alto voice animated by Davies's warm, honeyed and unfailingly musical tones.
While some recitals seek to grab the listener's attention at the outset with musical fireworks, here we are eased gently into Handel's soundworld with a lovingly tender account of 'O sacred oracles of Truth' from Belshazzar for voice and strings. The first group of four arias not only introduce Davies's remarkable sensitivity to Handel's texts, but also demonstrate the composer's extraordinarily varied handling of instrumentation. The second item, the seductive 'Mortals think that Time is sleeping' from The Triumph of Time and Truth, features the beguiling combination of recorders and strings (also much favoured by Bach: think of the Fourth Brandenburg Concerto), while 'Tune your harps to cheerful strains' (Esther) pairs solo oboe with pizzicato strings to exquisite effect. The virtuoso 'Mighty love now calls to arms' (Alexander Balus) is a dazzling showpiece with strings, oboes and trumpets, Davies effortlessly rising to match the orchestral pyrotechnics.
Following the sombre tones of the Overture to Jephtha comes one of Handel's best-loved arias, 'Eternal source of light divine' from the Birthday Ode for Queen Anne. There's a breathtaking poise to the sound here, with the strings more magically hushed than on an earlier performance from Iestyn Davies, Alison Balsom and the English Concert (EMI), and seasoned trumpeter Crispian Steele-Perkins is on his finest form. In 'Welcome as the dawn of day' (Solomon) Davies is joined by soprano Carolyn Sampson, their voices beautifully matched, while the title track (from Semele) is deeply moving, with sensitive deployment of ornamentation and silent pauses. 'Yet I can hear that dulcet lay' (from The Choice of Hercules) is given wonderfully pastoral tones, and 'Up the dreadful steep ascending' (Jephtha) is bracingly athletic.
The King's Consort's horns come into their own in the Overture to Samson, braying gloriously and setting up a nice contrast with the poised restraint of 'Thou shalt bring them in' (Israel in Egypt), Davies matching the strings in lightness of touch. A particular highlight of the disc is the profoundly touching duet 'Who calls my parting soul from death?' (Esther), with Carolyn Sampson's voice again entwining deftly with Davies's, as Esther and Assuerus respectively. 'On the valleys' (again from The Triumph of Time) is another delightful pastoral revel, and the disc ends in spectacular style with another aria from Esther, 'How can I stay when love invites?', which makes a perfect closing item.
Those listeners who already know the individual oratorios from which these splendid numbers are taken will certainly want to hear this superlative disc from Iestyn Davies, while those who don't are equally sure to feel encouraged to explore them further. The accompaniments throughout from the King's Consort under Robert King are alert, sympathetic and brilliantly accomplished. Detailed notes by Handel expert Donald Burrows provide valuable historic context, and there are full English texts. The recording from the Menuhin Hall is ideal in scale, focus and balance, and the presentation exemplary.
Sound/Video
Paused
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1O sacred oracles of truth
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2Mortals think that Time is sleeping
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3Tune your harps
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4Mighty love now calls to arm
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5Overture to Jephtha - Grave
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6Overture to Jephtha - Menuet
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7Eternal source of light divine
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8Welcome as the dawn of day
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9Your tuneful voice
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10Yet can I hear that dulcet lay
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11Up the dreadful steep ascending
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12Overture to Samson - Andante
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13Overture to Samson - Allegro
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14Overture to Samson - Menuetto
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15Thou shalt bring them in
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16Who calls my parting soul from death
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17On the valleys, dark and cheerless
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18How can I stay when love invites
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