Blow: Ode on the Death of Mr Henry Purcell

“The fluency of expression and rich tone of the countertenors Carlos Mena and Damien Guillon combine to bring animation and affection to John Blow’s Ode on the Death of Mr Henry Purcell” The Telegraph, 22nd October 2010 ****

“the performances are lush, sensual without straying into anachronistic mannerisms of gimmickry...Carlos Mena and Damien Guillon, whose voices are wonderfully well matched, are both at their best in intimate chamber music and they clearly relish the by turns weaving and angular lines of Blow anmd Purcell.” International Record Review, March 2011

“Mena and Guillon both sound entirely at ease with Dryden's eloquent English and the musical moods to illustrate literary illusions are captured poignantly...the recorders blend sensitively with the voices and it is a breath of fresh air to hear the simple three-piece continuo team of viol, theorbo and keyboard keeping things simple, tasteful and stylish.” Gramophone Magazine, May 2011

“This second volume of Vanguard's reissued recordings of Alfred Deller and his consort comprises works by Purcell, the composer most closely associated with Deller, and consists of six CDs, well packaged and with a CD-Rom giving access to more detailed information. The first two present a mixed programme of songs, duets and instrumental pieces. The third has a complete performance of Dido and Aeneas conducted by Deller and recorded in 1965. The remaining discs include the Odes to St Cecilia, Come, ye Sonsof Art and music for the Masque in Dioclesian, the whole collection ending with Blow's Ode on theDeath of Mr Henry Purcell.
In his middle and later years Deller habitually lightened notes above the centre of his range, so that his style became somewhat predictable and the evenness of his production somewhat impaired. That accounts for main differences between these later performances of such 'signature' pieces as 'Music for a While' and 'Sweeter than Roses': the purity of tone, the extraordinary resonance of lower and middle notes, the technical skill and sensitivity of his singing all remain. As a conductor, he had difficulties, and it cannot be claimed that the Dido is a success.
Some stodgy speeds and sluggish rhythms, a pantomime coven of witches, a Dido lacking nobility of tone and an Aeneas out of oratorio make it hard for other contributions (most notably Helen Watts's sorceress) to have their due effect. Still, no doubt the best way of avoiding disappointment is to be prepared for it.
That Deller could conduct well, holding his place along with the highly professional Harnoncourt in his Dioclesian and the very personally involved Tippett in Hail, bright Cecilia, is evident in the Odes. Stylish playing by George Malcolm and other instrumentalists (including the young violinist Neville Marriner) gives further pleasure. The album celebrated not only Deller himself but his generation who did so much to bring Purcell out of the text books, the full range of his genius revealed.” Gramophone Classical Music Guide, 2010