British countertenor Iestyn Davies has generally been heard in ensemble situations but has begun to make a distinctive mark with well thought-out solo recitals. This one provides an especially nice niche for him. He doesn't have the slightly mysterious soprano-like sound of a Philippe Jaroussky, but he engages strongly with the text, and he picks a program in such a way as to set a historical scene convincingly. Here he mixes familiar Purcell songs, each delivered with freshness and understanding, with lesser-known pieces ...
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British countertenor Iestyn Davies has generally been heard in ensemble situations but has begun to make a distinctive mark with well thought-out solo recitals. This one provides an especially nice niche for him. He doesn't have the slightly mysterious soprano-like sound of a Philippe Jaroussky, but he engages strongly with the text, and he picks a program in such a way as to set a historical scene convincingly. Here he mixes familiar Purcell songs, each delivered with freshness and understanding, with lesser-known pieces like William Croft's Ye tuneful Numbers: A song with symphonies. These "symphonies" include both a free-standing introduction and good-sized instrumental preludes to the individual songs, and the entire program shows a variety of composers in Restoration late 17th century England experimenting with the new sounds-extended arias or "airs," edifices erected atop ground basses, concerted instrumental groupings-coming from Italy, and merging them with the older and more melancholy English...
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