Sands really GETS Britten in ways others simply do not. It doesn't matter HOW. Unfortunately, the recording engineers set the men's voices unequally and the composer's scoring it very well balanced in total frequency range between the highest treble semi-solo and the lowest bass in the section leading up to quasi-sprechstimme, so we lose what Sands and the audience will have heard. The 'boy-like' soprano semi-solo without vibrato is damned perfect and the contralto leaps towards the end are as Britten wrote. Re pacing, I would have liked a shade more quickness after the first appearance of the 'home' anthem style "Blessed Cecelia,....." and note that some conductors [ref McCreesh] gradually increase pace over those minutes. If this could be re-mastered to correct the front to back loudness so we hear the men it would be great.
I am 'late to the party' finding this and have to say that a live performance has advantages over recorded ones when it is of this supreme standard. Matthew Best's 1988 recording has the edge for technical proficiency but Britten's intentions for Op.42 were live performance and using a mixture of amateurs and professionals was (and still is) risky. By 1948 Britten had shaken off much of Auden's influence and the more scholarly librettist Eric Crozier featured in several of the composer's great operas, perhaps most notably with EM Forster for 'Billy Budd' in both of its versions. Crozier is usually cited as being behind the reduction of Acts in that magnificent opera. Britten and Crozier later fell out and the causes are not clear. Benjamin Britten had something of a reputation for suddenly 'freezing' people out and they became known in the UK as "Britten's corpses". Evidently, Mozart had a similarly propensity and Beethoven did not seem to like anyone for very long. However, once Britten had published a work including core colleagues he did not contrive to excise or diminish as some composer have through musical history. For some reason, Op.42 is not often performed in the UK but it is quite popular in Spain, Italy and on the 'Nordic circuit' of pieces arising from choir competitions which we do not have in the UK and it has occasionally come and gone in N.America. Perhaps the length of the work is a reason for its relative neglect given how concerts are organized here. Britten was aware of Nordic vocal structures and twice made a point of extensively becoming involved, separated by a number of years. His Danish recordings are well worth hearing. Although St Nicolas was specifically written for the resources of Lancing College, Sussex the actual premiere was at Aldeburgh by permission of the college and allowed for the tenor part being sung by Peter Pears. The tenor in this performance, Steven Wilson, has the perfect voice for the cantata, with a thicker tone and superlative enunciation. To me, the work needs a good 'chest tenor' and has one here. Conductor/director Stephen Sands does not hurry and we get to hear some of Britten's polytonal clashes buried deep in parts of the piece with glorious clarity. As a spectacle too, Sands has unerring judgement in the entrances and exits of treble singers, akin to in the earlier 'Ceremony of Carols' and the later 'church parables'. It is all rather wonderful actually.
I'm a soprano and sang in Britten's "A Ceremony of Carols" one year. It's accompanied only by a harp. It's well worth a listen if you're a Britten fan.
Having had a career as a professional orchestral violinist, I had the absolute joy of performing Handel’s Messiah, with many a group of singers/soloists and have just stumbled upon this video… I can truly say this is the most perfect performance I’ve ever heard… every moment the Word is shaped and emotionally expressed!! Bravi Tutti!! 👏🏼👏🏼👏🏼👏🏼👏🏼
Wonderful performance. Native version can be viewed here: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-7neGs2qlcK4.htmlsi=O5my1AZ2xHOidG1I Conducted by Tõnu Kaljuste, who has carried on the legacy of his teacher, Veljo Tormis. That was the last time Veljo Tormis witnessed it himself.
i had never heard this piece of music before but because i listen to saint nicolas every christmas by downtown voices this came up on you tube just wonderful
Another beautiful performance - very tender and warm. The baritone soloist was great - love the long-held note at the end. Not sure it's in the score, but very effective. Thanks so much!
I have listened to dozens of recordings of Durufle's Requiem, and this is one of the best. I love the setting - the church almost full of choir and orchestra, and a small audience squeezed in at the door and balcony. The sound is magnificent. The orchestra and organ together are a great combination and generate that wonderful wash of sound that we expect from Durufle. The soloist sang beautifully - poignant and tender. Wonderful performance! I wish I'd been there in person
Absolutely gorgeous! Such fine texture and gentle tone, with bright clarity and spaciousness when it is needed. Thank you so much. I would love to hear your version of Beethoven's 9th Symphony.
