Iestyn Davies (counter-tenor) and Malcolm Martineau (Piano)
The counterrenor voice has been restored in my lifetime to its proper place in performance.
In that same time the number of countertenors, their vocal ranges extended and their atristy enhanced has grown from generation to generation. Iestyn Davies is one of the best I’ve ever heard. His voice is just perfect: a creamy tone without any of the distortion of vibrato or sharpness or hooting-sounds in the upper registers and a lower register that is warm, deep and rich. He is also an extremely intelligent performer and singer and brings huge sense to all he sings. This is great, great artistry.
There are many who shy away from this voice or who are suspicious of it. Listen to Davies and allow the beauty of his voice to persuade you to the joyous sound of the countertenor.
Alfred Deller was the first countertenor I heard on a record. He recorded in the 1950s and specialised in the baroque music that was only then returning into fashion.
I was played it in by a school friend over a Sunday tea. I had to buy the record when I could afford to – Purcell’s Come Ye Sons of Art – one of the odes he set for the Birthday of Queen Mary II.It wasn’t actually the first time I’d heard a countertenor as the lead singer Nigel in our small school choir at Presentation College was a countertenor.
I’ve always found it a special sound – mournful, beautiful, sweet and haunting. Since then I’ve heard many and loved most not least James Bowman who not only brought to the Opera repertoire Britten’s Oberon amongst many characters but lovingly sang the Lament of David over Jonathan in Handel’s Saul.
Every time I hear Bowman’s version of ‘O fatal day’ it brings tears to my eyes
Recently, I heard Iestyn Davies sing Oberon at the ENO in a production which I absolutely hated. But he gave such a great performance. He immediately stood out as amongst the finest countertenor voices I had heard.
He has the most remarkable tone, a great range and a beautiful vocal technique.
Last night at the Wigmore Hall he allowed us to see the delicacy, depth, colour and dramatic range of his wonderful voice. And yet delightfully modest, disdaining faux theatrics his understated performance held us with his intense and intelligent singing.
The programme has three pieces of Purcell. He sang these with all the lucid artistry he always brings to the baroque and the early classical genre. The vocal decoration, trills and such – just perfection. Then there were three newly commissioned songs by Nico Muhly. The last of these, ‘The bitter Withy’ I thought achingly beautiful. And Davies sang it with such touch and feeling. The first half ended with the Tippet songs for Ariel. They are really amongst Tippet’s finest small scale pieces: reflectively soulful and sadly humorous rather like the sprite himself
The second half comprised five Bach Spiritual Songs to which Davies brought a contemplative intensity that reminded me of Janet Baker. These were followed by a Schubert and Brahms which I thought were finely rendered with tender feelings. I didn’t know the Brahams Alte Liebe (Old Love) a really gorgeous gem. Howels – ‘Oh my deir hert’ and three Britten songs followed of which the Ash Grove I think was just perfectly performed.
That did bring a tear to my eye
Davies is a delight to watch sing. He is effacing but commanding. He doesn’t wave his arms and hands about but instead uses his voice entirely to make the music live.
Goodness, if you’ve never heard him you simply must. It was a cracking night. One couldn’t ask for more. A blackbird might hardly sing more joyfully than Davies last night:
‘Twas there while the blackbird was joyfully singing; I first met my dear one, the joy of my heart;Around us for gladness the bluebells were ringing; Ah! then little thought I how soon we should part.
The link below is to Davies Singing the opening of Handel’s Ode for the Birthday of Queen Anne – Eternal source of light Divine.. He is divine….
Iestyn Davies: \”Eternal Source of Light Divine.\” Handel