Vaughan Williams: Silent Noon

“The recital begins with Keats and ends with Shakespeare: that can't be bad. But it also begins with Stanford and ends with Parry; what would the modernists of their time have thought about that? They would probably not have believed that those two pillars of the old musical establishment would still be standing by in 1999. And in fact how well very nearly all these composers stand! Quilter's mild drawing–room manners might have been expected to doom him, but the three songs here – the affectionate, easy grace of his Tennyson setting, the restrained passion of his 'Come away, death' and the infectious zest of 'I will go with my father a–ploughing' – endear him afresh and demonstrate once again the wisdom of artists who recognise their own small area of 'personal truth' and refuse to betray it in exchange for a more fashionable 'originality'.
Likewise Finzi, whose feeling for Hardy's poems is so modestly affirmed in 'The dance continued'.
Does that song, incidentally, make deliberate reference, at 'those songs we sang when we went gipsying', to Jillian of Berry by Warlock (whose originality speaks for itself)? Jillian of Berry itself perhaps calls for more full–bodied, less refined tones than Bostridge's. One could do with a ruddier glow and more rotund fruitiness in the voice. Yet for most of the programme he isn't merely a well–suited singer but an artist who brings complete responsiveness to words and music. The haunted desolation of Delius's Twilight Fancies is perfectly caught in the pale hue of the voice which can nevertheless give body and intensity to the frank cry of desire, calming then to pianissimo for the last phrase amid the dim echoes of hunting horns in the piano part. Julius Drake plays with strength of imagination and technical control to match Bostridge's own.” Gramophone Classical Music Guide, 2010

“a baritone with pithy, but warm, rounded, never hard intonation, a piano accompanist who follows suit perfectly, music full of temperament, plus a accompanying personal note from the singer...Most impressive perhaps are the fresh and lively interpretations that make one forget that this is a studio production.” 16vor.de, 8th January 2013

“a rising young baritone with a powerfully operatic voice. Supported by Isabelle Trüb's acommpaniments, often rather more assertive and colourful than reticent Brits expect, he gives the Songs of Travel a distinctively dramatic edge...It's already had the good word from Sir Thomas Allen, and no wonder.” BBC Music Magazine, April 2013 *****

“[Pike] has a powerful, generous and malleable voice, that he puts to use with rare sensitivity...Trüb shows great sensitivity and admirable flexibility in the colours of her piano accompaniment, never ceasing to explore all the psychological finesses.” Luxemburger Wort, 22nd December 2012

“It is a real pleasure to make the acquaintance of David John Pike on this quite superb recording. The singer has all the qualities that one looks for in this repertoire: a well-focused and steady delivery, imaginative response to the text, and a real sense of legato.” MusicWeb International, 29th April 2013

“With the congenial accompaniment of pianist Isabelle Trüb he achieves a degree of emotional penetration not necessarily obvious with this repertoire. Pike finds the right voice, the right tone, for every song. A further strength is the warmth of his pleasantly nutty, powerful voice, calm breath control, a beautiful legato and good mastery of the mezzovoce.” Pizzicato Magazine