Carolyn Sampson


Carolyn Sampson

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Carolyn Sampson: Fleurs

Carolyn Sampson: Fleurs

Boulanger, L:

Les lilas qui avaient fleuri


The Nightingale and the Rose


Toutes les fleurs


De fleurs


Le papillon et la fleur, Op. 1 No. 1

Fleur jetée, Op. 39 No. 2

Les roses d'Ispahan Op. 39 No. 4


Le temps des roses

Hahn, R:





Sweeter than Roses (from Pausanius, the Betrayer of his Country, Z585)


Damask Roses


Im Haine, D738

Die Blumensprache D519 (Platner)


Schneeglöckchen, Op. 79 No. 26

Die Blume der Ergebung Op. 83 No. 2 (Friedrich Rückert)

Jasminenstrauch Op. 27 No. 4 (Friedrich Rückert)

Meine Rose, Op. 90 No. 2

Röselein, Röselein! Op. 89 No. 6 ('Wielfried von der Neun')

Strauss, R:

Mädchenblumen (4 songs), Op. 22

Das Rosenband, Op. 36 No. 1

Carolyn Sampson (soprano) & Joseph Middleton (piano)

Carolyn Sampson has enjoyed notable successes worldwide in repertoire ranging from the early baroque to the present day, in opera and concert as well as on disc. Nevertheless, the present recording is, as she writes in a personal introduction in the CD booklet, something of a début – her first recital disc of songs with piano. When choosing the repertoire, she collaborated closely with her pianist, Joseph Middleton and together they have devised a garland of flowers: settings of poems on a floral theme in Russian, English, French and German. Just as flowers themselves are used to convey affection or regret, and are symbols of celebration as well as bereavement, the selected songs represent a great diversity, through their different musical styles and affects. Scintillating exuberance, as in Fauré’s youthful Le papillon et la fleur, and intimate delicacy (Schumann: Schneeglöckchen) alternate with the ethereal mystique of Richard Strauss’s Wasserrose and the sad resignation which infuses Britten’s setting of Alexander Pushkin’s poem Solovej i roza, depicting the unrequited love of a nightingale for a rose. There are even threatening moments, as in De fleurs, Debussy’s setting of his own, Baudelairean text, in which violet irises and sickly white lilies languish in a stifling hothouse atmosphere. But as Carolyn Sampson and Joseph Middleton sum it up in the closing song of the disc, Chabrier’s Toutes les fleurs, we do adore them all, be they mimosa, jasmine, lilies-of-the-valley, marigolds, corn-flowers, cyclamen…

“A sweetly scented posy, this...Perfect, too, for all who love Sampson's fragrant, light-filled, warmly communicative soprano. Surprisingly, this is her sollo recital debut on disc. The bouquet was Joseph Middleton's idea, and his fluent and always idiomatic playing accompanies Sampson with glee and grace throughout.” BBC Music Magazine, Awards Issue 2015 ****

“Always a lovely Baroque singer, Sampson vividly suggests the mounting erotic excitement of 'Sweeter than roses'...But with hints of deeper colours in her vernal soprano, she is hardly less persuasive in Romantic songs...Middleton creates limpid, luminous imaginatively planned, beautifully executed recital that charms and touches by turns.” Gramophone Magazine, May 2015

GGramophone Awards 2015

Finalist - Solo Vocal

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JS Bach: Magnificat & Christmas Cantata

JS Bach: Magnificat & Christmas Cantata

Bach, J S:

Cantata BWV63 'Christen, aetzet diesen Tag'

Magnificat in E flat major, BWV243a

Philippe Herreweghe and Collegium Vocale Gent, revisit the festival of Christmas as it was celebrated in Leipzig under the direction of Bach himself. A highlight of the programme is the original version of the celebrated 'Magnificat' with four extra movements . . .

“The soloists excel; the music-making is robust yet yielding - Happy Christmas indeed!” BBC Music Magazine, Awards Issue 2015 *****

“BWV 63 is surely the most celebratory of Bach’s Christmas cantatas, and I love the way Herreweghe embraces this, revelling in the ebullience and producing something that pulses with life. Much of the comes from the performances of the choir, so rounded, mellow and homogenous that it sounds as though this music was made for them.” MusicWeb International, May 2015

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Mozart: Piano Concertos Nos. 14 & 21

Mozart: Piano Concertos Nos. 14 & 21


Piano Concerto No. 14 in E flat major, K449

Piano Concerto No. 21 in C major, K467 'Elvira Madigan'

Ch'io mi scordi di te?... Non temer, amato bene, K505

with Carolyn Sampson (soprano)

Ronald Brautigam (fortepiano)

Die Kolner Akadamie, Michael Alexander Willens

“[This issue] proves every bit as immediate and lively in musical approach as its predecessors. Brautigam, bearing out his reputation as a musical and intellectual powerhouse, animates every note and phrase marking…even to people who think they know these much-recorded concertos backwards, my guess is that these readings will sound fresh and full of adventure.” BBC Music Magazine, June 2015 ****

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JS Bach: Easter & Ascension Oratorios

JS Bach: Easter & Ascension Oratorios

Bach, J S:

Easter Oratorio BWV249

Ascension Oratorio 'Lobet Gott in seinen Reichen', BWV11

This, the second release of the highly anticipated Retrospect Ensemble series, features the Easter Oratorio, one of Bach’s best-known oratorios and a monumental work, as well as the Ascension Oratorio.

Originally released in 2011 ‘J.S. Bach: Easter and Ascension Oratorios’ has been re-issued as part of Linn’s ECHO series which offers a second chance to enjoy the best of the label’s award-winning catalogue.

Retrospect Ensemble employs large-scale forces for this recording including four-part choir and orchestra (including timpani), and is joined by Carolyn Sampson (soprano), Iestyn Davies (countertenor), James Gilchrist (tenor) and Peter Harvey (bass).

This dynamic recording highlights the skill and brilliance of Bach's writing through the inspired story telling of its star soloists and the passion of the Ensemble.

Named a Finalist in the ‘Baroque Vocal’ category at the 2011 Gramophone Awards, the recording received many five star reviews in addition to being named The Sunday Times’ ‘Classical Record of the Week’.

Founded by Matthew Halls, Retrospect Ensemble takes its musicians and audiences on an exciting journey, exploring the repertoire of four centuries and embracing the practices, styles and aesthetics of former ages with renewed vigour and a fresh approach.

Retrospect has appeared at major UK festivals including the Edinburgh International Festival and Norfolk and Norwich Festival and performed at Wigmore Hall and Cadogan Hall, London.

Matthew Halls has established himself as one of today’s leading young conductors. A former Artistic Director of The King’s Consort, he has conducted in prominent venues throughout the UK and Europe.

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Mozart: Requiem & Vesperae solennes de confessore

Mozart: Requiem & Vesperae solennes de confessore


Requiem in D minor, K626

Vesperae solennes de confessore in C, K339

Carolyn Sampson, Marianne Beate Kielland, Makato Sakurada, Christian Immler

Bach Collegium Japan, Masaki Suzuki

A new performing edition by Masato Suzuki, based on the autograph by Mozart and taking account of earlier completions by Eybler and Sussmayr. He has composed a new “Amen Fugue” to close the “Sequentia”, based on the sketch discovered in Berlin in 1960.

“The performance is notable for its super-clean orchestral edges and refinement.” BBC Music Magazine, February 2015 ****

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Rameau: Les Fêtes de l'Hymen et de l'Amour, ou Les Dieux d'Égypte

Rameau: Les Fêtes de l'Hymen et de l'Amour, ou Les Dieux d'Égypte

World Premiere Recording

Carolyn Sampson, Chantal Santon-Jeffery, Blandine Staskiewicz (sopranos), Jennifer Borghi (alto), Reinoud Van Mechelen, Mathias Vidal (countertenors), Tassis Christoyannis, Alain Buet (basses)

Le Concert Spirituel, Hervé Niquet

The latest in Hervé Niquet's 'reinvigorations' of French operatic music from the Baroque and beyond for Glossa is Rameau’s 1747 'Les Fêtes de l’Hymen et de l’Amour'. A ballet heroïque in a prologue and three entrées, the whole work was designed to comprise a complete theatrical spectacle. Music for dancing – as befits a ballet – is given a prominent role and Rameau is able to create especially expressive symphonies and to give the choruses – even a double-chorus – an integral role in the action. Added to this are supernatural effects, and plots for the entrées which explored the then uncommon world of Egyptian mythology (including a musical depiction of the flooding of the River Nile). In his vocal music Rameau deftly switches between Italianate style and the French mode, current in the mid-18th century, allowing the distinguished team of vocal soloists to demonstrate their accomplished talents. Overseen by the Centre de musique baroque de Versailles, and with booklet notes from Thomas Soury, this new recording is an important addition to the Rameau catalogue – the more so in the 250th anniversary year of the composer’s death. It brings to life one of Rameau’s finer, if underrated, compositions, and a dramatic work written on the cusp of important reforms in opera.

“The singing is buoyant, the playing of Le Concert Spirituel under Hervé Niquet affectionate and uplifting – one of the more imaginative tributes for the composer’s 350th anniversary year.” Financial Times, 4th October 2014 ****

“Few ensembles do French baroque as well as Le Concert Spirituel with their conductor Hervé Niquet. There’s a real understanding here of the innate sexiness of this music. The orchestral and choral sound is wonderfully rich without ever turning pompous.” The Guardian, 8th October 2014 ****

“The story is sophisticated light entertainment. The music, however, is first-rate and stylishly performed by Niquet, his solo team and the band’s players and chorus.” Sunday Times, 12th October 2014

“the performances are so, so fresh and so present.” CD Review, 18th October 2014

“[Santon's] gleaming tone and smoothly flowing emission are rewardingly dulcifying...[Vidal] produces a clean, focused sound, lightish when singing A Pleasure in the Prologue and tonally fuller as Arueris...[Chrystoyannis's] baritone brings a different colour and range from what has gone before...Niquet appears to strike sensible tempos.” International Record Review, December 2014

“The solo writing ranges from recitative to da capo arias; the delightful orchestration includes independent bassoon parts. Apart from a backward harpsichord continuo, the recording is excellent. And, oh yes, so are the singing and playing.” Gramophone Magazine, December 2014

“There is some superb singing here, particularly from soprano Chantal Santon-Jeffery, high tenors Mathias Vidal and Reinoud Van Mechelen, and bass Tassis Christoyannis...Le Concert Spirituel does an outstanding job with the sumptuous score and its beguiling stream of song, speech and dance.” Early Music Today

“The music, with Rameau very much in his prime, matches the spectacle and drama...While Herve Niquet's musical direction is generally and excellently consistent, this performance is by no means perfect...But the recorded sound is good and this rarity certainly repays attention.” BBC Music Magazine, February 2015 ****

Presto Discs of 2014


Glossa - GCD921629

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A French Baroque Diva

A French Baroque Diva

Arias for Marie Fel

Fiocco, J H:

Laudate pueri (Part 1 of Laudate pueri)

A solis ortu (Part 3 of Laudate pueri)

Alleluia (Part 4 of Laudate pueri)


Ah! quand reviendront nos beaux jours?


Regna terrae (Movement 5 of Exsurgat Deus, S71)

Sinfonie (Movement 1 of Te Deum laudamus, S32)

Tu rex gloriae (Movement 8 of Te Deum laudamus, S32)

Tu ad liberandum suscepturus hominem (Movement 9 of Te Deum laudamus, S32)

Viderunt omnes termini terrae (Movement 5 of Cantate Domino, S72)


Gasouillats auzeléts (Act 1 Scene 2 from Daphnis et Alcimadure)

Venite, adoremus (Movement 4 of Venite, exsultemus)

Hodie si vocem (Movement 6 of Venite, exsultemus)


Tristes apprêts (from Castor et Pollux)

Amour, lance tes traits (from Les fêtes de l'Hymen et de l'Amour)

La Lyre Enchantée

Rousseau, J-J:

Salve regina

A welcome return of Carolyn Sampson and Ex Cathedra to Hyperion, performing the rich, fulsome music of the French Baroque. Their recording of love songs from Rameau’s operas (Hyperion CDA67447) was hugely acclaimed for Sampson’s stylish, fluid, seductive performances, and ten years later her artistry is even more dazzling.

This album is of particular interest as rather than concentrating on one composer it showcases the works written for the premiere soprano of the day, Marie Fel. Voltaire called her his ‘adorable nightingale’. For d’Aquin, she was an enchanted being. Marie Fel was the soprano who held an entire generation spellbound at the Paris Opéra and at Louis XV’s court during one of the most glorious periods of French music. With a voice described as ‘pure, charming, silvery’ (La Borde), ‘touching and sublime’ (Grimm) and ‘always lovely, always seductive’ (d’Aquin), she inspired some of Jean-Philippe Rameau’s finest music and introduced a whole new level of virtuosity and expression into the French singing tradition. Her long, triumphant career is traced through this fascinating recording.

Carolyn Sampson talks to Presto's Katherine Cooper about the disc here.

“don't be put off by the apparently recherche repertoire: this is a programme that leases as much today as it did in [Fel's]...the longer we listen to Sampson's voice, the more she seems to inhabit the aura of Fel...Sampson's performance is the more admirable for evoking the spirit of another singer. Start to finish, Jeffrey Skidmore devotedly shapes and paces the programme.” Gramophone Magazine, July 2014

“Sampson is quite remarkable. She has the capacity to soften the vocal line with carefully controlled vibrato, but also deploys tone of crystalline clarity...bright, vibrant, responsive and entirely in tune with the expressive language and virtuosic demands of the period.” BBC Music Magazine, August 2014 *****

“I’m sure Jeffrey Skidmore and Ex Cathedra won’t mind me saying this is a very English interpretation...Sampson sings it all beautifully: words, affect, heart and spirit in everything, plus the most natural-sounding control in the coloratura. A really lovely disc of rare and beautiful music, performed with love.” Opera Now

Presto Discs of 2014


GGramophone Awards 2015

Winner - Recital

GGramophone Magazine

Editor's Choice - July 2014

Hyperion - CDA68035



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Poulenc: Stabat mater

Poulenc: Stabat mater


Stabat mater

Sept Répons des Tenèbres

Poulenc’s 'Stabat Mater', which he described as a ‘requiem without despair’, was written in 1950 following the death of Christian Bérard who designed the sets for Cocteau’s films and plays and was a leading figure of 1940s Paris. This masterly work, dedicated to the Virgin of Rocamadour, gives pride of place to the chorus and clearly shows its line of descent from the French grands motets. On completing it, Poulenc wrote to Pierre Bernac: "It’s good, because it’s completely authentic".

From the time of his pilgrimage to Rocamadour in 1936, Poulenc's religious output was filtered through his Catholic interpretation of the world and his personal trajectory. The 'Stabat Mater' is no exception to this rule, in that it associates the events and circumstances of his own life with the drama of the Gospels. It identifies the three figures of Christ, the Virgin and the Faithful Disciple with biographical figures: Bérard, Poulenc, and the latter’s lover Lucien Roubert, whom he was to refer to as ‘the secret’ of the 'Stabat Mater' and 'Dialogues des Carmélites'.

In December 1959 Leonard Bernstein commissioned a new work from Poulenc for the New York Philharmonic Orchestra. He chose to write the 'Sept Répons des Ténèbres' (Seven Tenebrae Responses) for treble soloist, a chorus of boys’ and men’s voices and symphony orchestra. The posthumous first performance took place on 11 April 1963 at Philharmonic Hall (now Avery Fisher Hall) under the direction of Thomas Schippers. Poulenc had insisted on these all-male vocal forces, but, 50 years after his death, it is important to allow for more widespread performance of this fascinating score which has too long languished in the shadows.

“The word 'powerful' is not one we naturally associate with Poulenc...Still, these are vivid and, yes, powerful performances.” BBC Music Magazine, May 2014 ****

“Sampson eloquently expresses the isolation and apprehension of the solo line [in the Sept Répons], and the mixed voices...sensitively and dramatically project the sombre, fearful, abject world in which Poulenc finds himself. Theirs is also a fine performance of the Stabat Mater...The choir and orchestra rise fully to the eruptions of emotion.” Gramophone Magazine, May 2014

“This is a beautiful recording, and a valuable coupling of Poulenc’s two most serious works for chorus and orchestra … Very warmly recommended.” International Record Review, April 2014

“Carolyn Sampson is a wonderful soloist and the combined choirs, which number just short of fifty singers, perform Poulenc’s varied and demanding music expertly...The splendid performances on this disc make the best possible case for Poulenc’s sacred music.” MusicWeb International, 9th April 2014

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Your Tuneful Voice: Handel Oratorio Arias

Your Tuneful Voice: Handel Oratorio Arias


Belshazzar: Oh sacred oracles of truth

The Triumph of Time and Truth: Mortals think that Time is sleeping

Esther: Tune your harps to cheerful strains

Alexander Balus: Mighty love now calls to arms

Jephtha: Overture

Ode for the Birthday of Queen Anne HWV74 'Eternal source of light divine'

Solomon: Welcome as the dawn of day

Carolyn Sampson (soprano)

Your tuneful voice (from Semele)

The Choice of Hercules: Yet can I hear that dulcet lay

Jephtha: Up the dreadful steep ascending

Samson - Overture

Israel in Egypt: Thou shalt bring them in

Esther: Who calls my parting soul

Carolyn Sampson (soprano)

The Triumph of Time and Truth: On the valleys, dark and cheerless

Esther: How can I stay, when love invites?

Acclaimed countertenor Iestyn Davies and The King’s Consort perform an outstanding programme of Handel arias from some of the composer’s finest oratorios.

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.

“Davies is in his prime of vocal flexibility, and authoritative in modes both pious (‘O sacred oracles of truth’) and warlike (‘Mighty love now calls to arm’). Two cameos from Carolyn Sampson are, naturally, ravishing.” Early Music Today

“Davies's quick coloratura is dazzling in the final aria, 'How can I stay when love invites?'” Gramophone Magazine, March 2014

“Davies's phrasing is to be admired, spanning as it does long lines of breath control.” International Record Review, March 2014

“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.” MusicWeb International, 12th February 2014

“[the slow arias] allow us to appreciate Davies's extraordinary evenness of tone, his immaculate breath control and the rapt subtlety of his phrasing...the handful of virtuoso arias are delivered with terrific panache and a bravura technique that is second to none. The King's Consort under Robert King are dark-toned and admirably sensual throughout.” The Guardian, 13th February 2014 ****

“Iestyn Davies brings a grace and calm entirely appropriate to these Handel arias...Throughout, Davies’ control is remarkable.” The Independent, 8th February 2014 ****

“he cherishes the words while negotiating the technical hurdles with amazing fluency and consistency of timbre...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 in the orchestral accompaniments on a disc that highlights a countertenor voice in its prime.” The Telegraph, 6th February 2014 ****

Vivat - VIVAT105



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Hommage à Trois

Hommage à Trois


Il maestro di cappella: excerpts


Chi nel cammin d'onore (L'Isola disabitata)

Il pensier sta negli aggotti (L'Anima del Filosofo - Orfeo ed Euridice)

Teco lo guida al campo (Armida)

Gia la morte in mante nero (from La vera costanza)

Non sparate... mi disdico... (La Vera Costanza)


Crudel! perché finora farmi languir così? (from Le nozze di Figaro)

Hai gia vinta la causa! (from Le nozze di Figaro)

Fin ch'han dal vino (from Don Giovanni)

Deh! vieni alla finestra (from Don Giovanni)

Rivolgete a lui lo sguardo (from Così fan tutte)

Bei Männern, welche Liebe fühlen (from Die Zauberflöte)

Pa-pa-pa-pa-Papagena (from Die Zauberflöte)

Described by Gramophone Magazine as ‘one of the best of our younger baritones’ William Berger makes his Linn debut with a programme of arias from some of the finest operatic composers.

Soprano Carolyn Sampson guest stars on several duets whilst the Scottish Chamber Orchestra, which has won several awards for its performances of Mozart, provides sterling support throughout.

Following a 2012 performance by Berger, the SCO and McGegan, The Herald commented that Cimarosa’s 1792 cantata Il Maestro di Capello woud be ‘a highlight of [the] upcoming Linn disc this team is making.’

The programme encompasses arias from all of Haydn and Mozart’s best-loved operas; Berger’s stage portrayal of Papageno was praised by The Arts Desk: ‘Berger is also a deft, musicianly baritone, and a communicator who has the audience eating out of his hand.’

Berger’s debut album was chosen by Guardian critics as one of the ‘Best Classical Albums of 2012’ and by David Mellor as his ‘Album of the Week’ on Classic FM.

William Berger’s warm, rich baritone and charismatic stage presence have been winning praise from audiences and critics alike. With his intelligent approach to characterisation and thrilling interpretations, he’s a rising young star on both the concert and operatic stage.

A specialist in 17th and 18th century repertoire, William has performed all of the major Mozartian baritone roles as well as a wide selection of roles by Monteverdi, Handel, Haydn, Puccini, Janáček and Weill.

In concert, William has performed at the Royal Albert Hall, Royal Festival Hall, Wigmore Hall, Sadler’s Wells and Birmingham Symphony Hall with orchestras and ensembles including the London Philharmonic Orchestra, City of Birmingham Symphony Orchestra and English Consort.

Carolyn Sampson has sung many roles for English National Opera and for Glyndebourne Festival Opera, and has appeared with Opéra de Paris, Opéra de Lille and at the Boston Early Music Festival.

Described as ‘an expert in 18th-century style’ (The New Yorker) Nicholas McGegan is the Grammy nominated director of the Philharmonia Baroque Orchestra; he is active in opera as well as the concert hall and has given several premiere performances of collaborations with choreographer Mark Morris.

“The Scottish Chamber Orchestra's characterful accompaniments under Nicholas McGegan's expert baton prove adventurous at every turn. Berger's agile, lyrical high baritone is also impressive, with top notes almost tenorially easy.” BBC Music Magazine, December 2013 ***

“ It's a discreetly sexy disc, engagingly witty and stylish, and, for the most part, cleverly put together...Haydn's wide-ranging arias show off Berger's coloratura and the beauty of his upper registers to perfection.” The Guardian, 9th January 2014 ****

“Berger immediately sets out his stall in the opening aria frm Haydn's L'isola disabitata, singing with firm, mellow tone, bright, ringing top notes and a care for evenness of line...a beautifully recorded recital that enhances the young baritone's credentials as a fine Classical stylist.” Gramophone Magazine

“Berger might not have the richest of tones, but his voice is true and the top secure. Just as importantly, he is able to use it to build character and his Count, Giovanni, Guglielmo and Pappageno are all deftly differentiated...McGegan conducting is hugely supportive and the Scottish Chamber Orchestra on good form.” Opera Now *****

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