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The unbeatable, multi-award-winning partnership of Gerald Finley and Julius Drake turn to the composer Benjamin Britten for their latest Hyperion release.
Although Britten is particularly celebrated for the substantial body of music he composed for the tenor voice, the composer also left an important legacy of music for baritone. Characteristically, Britten’s output for low voice was also inspired by the talents of specific performers with whom he was closely associated, among them Dietrich Fischer-Dieskau and John Shirley-Quirk. In addition to song-cycles, individual songs and folksong arrangements, Britten wrote challenging baritone roles in operas as diverse as Billy Budd (1951), Owen Wingrave (1970) and Death in Venice (1972)—the title role of the second of these made very much Gerald Finley’s own in his magnificent interpretation in Margaret Williams’s 2001 television film of the opera.
This disc contains Britten’s two important song cycles for baritone: Tit for Tat, setting the poems of Walter de la Mare, and the more substantial and challenging Songs and Proverbs of William Blake. The latter was written for Dietrich Fischer-Dieskau; designed to showcase his unique blend of intense lyricism and dramatic characterization, qualities which are undoubtedly also exhibited by Gerald Finley.
Also included are some of Britten’s popular folksong settings, and a selection of later songs, which received exposure and publication only after the composer’s death in December 1976.
Anon/Britten/Matthews: Lemady
Anon/Britten/Matthews: She's Like The Swallow
Anon/Britten: I Wonder As I Wander
Dibdin/Britten: The Oddities - Tom Bowling
Britten: Songs & Proverbs Of William Blake, Op. 74 - #01 Proverb I
Britten: Songs & Proverbs Of William Blake, Op. 74 - #02 London
Britten: Songs & Proverbs Of William Blake, Op. 74 - #03 Proverb II
Britten: Songs & Proverbs Of William Blake, Op. 74 - #04 The Chimney-Sweeper
Britten: Songs & Proverbs Of William Blake, Op. 74 - #05 Proverb III
Britten: Songs & Proverbs Of William Blake, Op. 74 - #06 A Poison Tree
Britten: Songs & Proverbs Of William Blake, Op. 74 - #07 Proverb IV
Britten: Songs & Proverbs Of William Blake, Op. 74 - #08 The Tyger
Britten: Songs & Proverbs Of William Blake, Op. 74 - #09 Proverb V
Britten: Songs & Proverbs Of William Blake, Op. 74 - #10 The Fly
Britten: Songs & Proverbs Of William Blake, Op. 74 - #11 Proverb VI
Britten: Songs & Proverbs Of William Blake, Op. 74 - #12 Ah, Sun-Flower
Britten: Songs & Proverbs Of William Blake, Op. 74 - #13 Proverb VII
Britten: Songs & Proverbs Of William Blake, Op. 74 - #14 Every Night & Every Morn
Britten: Tit For Tat - #1 A Song Of Enchantment
Britten: Tit For Tat - #2 Autumn
Britten: Tit For Tat - #3 Silver
Britten: Tit For Tat - #4 Vigil
Britten: Tit For Tat - #5 Tit For Tat
Britten: Um Mitternacht
Britten: A Poison Tree
Britten: This Way To The Tomb - #1 Evening
Britten: This Way To The Tomb - #2 Morning
Britten: This Way To The Tomb - #3 Night
Owen/Britten/Matthews: David Of The White Rock
Anon/Britten: Greensleeves
Anon/Britten: The Crocodile
Anon/Britten: The Deaf Woman's Courtship
Anon/Britten/Matthews: Bird Scarer's Song
July 2010
“Finley as ever acquits himself as a fine singer, a conscientious artist and a thoroughly reliable musician....In all (including the Blake) Julius Drake is the superb pianist.”
3rd June 2010
****
“Gerald Finley sings them all with such an unwaveringly beautiful tone and attention to every syllable, and pianist Julian Drake is so wonderfully attuned to the baritone's inflections...Finley comes into his own in the final Every Night and Every Morn, and Drake's handling of the powerfully wrought accompaniments is superb.”
13th June 2010
****
“Finley’s watchwords are directness and clarity, both of which come across to splendid effect in the folk-song arrangements and the comic duet The Deaf Woman’s Courtship, in which he performs both parts. Drake is his admirable partner in this outstanding enterprise.”
26th October 2010
“[Finley] just seems to be singing naturally, but at the same time he colors and inflects with astonishing specificity. He manages to vary the repeats in those folk-song settings where verses are repeated...His diction is crisp and clear, which adds to the dramatic impact of his singing.”
Click on any of the works listed above for alternative recordings.
Anon/Britten/Matthews: Lemady
