BaL 12.05.18 - Britten: Winter Words Op. 52

**Mary Chambers** · 12-05-18, 10:10

I thought it was a very perceptive and intelligent review. She clearly understands what she is listening to. I found it a little unsatisfactory at the end, because she didn't really explain her choice.

After the Pears/Britten, which she did appreciate, I think I’d probably choose Rolfe Johnson myself. He did study Winter Words with Pears. I remember he said Pears had said to him (about the “How long, how long?” at the end of Before Life and After) “Very good, my dear, but not enough yowl.” Very expressive! I saw Rolfe Johnson as Aschenbach, which made a great impression on me.

The Partridges, James Gilchrist/Anna Tilbrook and Langridge/Bedford would be my other choices.

**Beef Oven!** · 12-05-18, 10:47

I really enjoyed this BaL and I was impressed with the Johnson/Johnson. I still love Bostridge's 'how long, how long'.

Kate Kennedy was excellent and she has ended a bad run of single-handed BaL's (it was getting embarrassing with the twofers consistently out-performing them!)

**ardcarp** · 12-05-18, 10:58

I thought Kate Kennedy had great insight into the tenor voice! I would have preferred the whole thing to have reviewed recordings other than Britten/Pears. The latter is such an iconic partnership (overused word, but here the only one) and Pears' voice is so idiosyncratic (in a good way) it's almost impossible to hear those songs without referring back to them all the time. KK was 'on the money' with reference to Robert Tear, who at an early stage in his solo career began a Pears-type voice production. Even Anthony Rolfe Johnson, IMV one of the finest finest English tenors (along with Ian Partridge), resorted to a bit of Pears-ish vocal technique in Winter Words. I'm glad ARJ 'won', though any serious student of Britten songs must have Pears in their collection...and probably does already.

I though KK gave an excellent review, full of spot-on comments about Britten's setting, Hardy's poems and the tenor voice.

As a sort of naughty footnote, I'd add that Pears' throaty vowels and smudged consonants made his words less clear than almost any of the other singers!

**LMcD** · 12-05-18, 12:44

I have Johnson and Johnson on Helios CD 55067 - is this a different recording?

**Eine Alpensinfonie** · 12-05-18, 13:43

Originally posted by LMcD View Post

I have Johnson and Johnson on Helios CD 55067 - is this a different recording?

Helios is a Hyperion label.

**BBMmk2** · 12-05-18, 13:44

I haven't heard all but sounded good to what I did. I rather like Anthony Rolfe Johnson's voice, anyway, so must get!

**ardcarp** · 12-05-18, 13:48

I thought it was a very perceptive and intelligent review. She clearly understands what she is listening to. I found it a little unsatisfactory at the end, because she didn't really explain her choice.

Agreed, Mary. She was definitely coy about making her choice and rather left it to Andrew to state it. It's almost as if she couldn't bear to be heard not choosing Britten/Pears!

**Beef Oven!** · 12-05-18, 14:02

Originally posted by LMcD View Post

I have Johnson and Johnson on Helios CD 55067 - is this a different recording?

Same recording. Hyperion is the label and Helios is Hyperion's the mid-price marketing name.

**Barbirollians** · 12-05-18, 14:17

Originally posted by Beef Oven! View Post

Same recording. Hyperion is the label and Helios is Hyperion's the mid-price marketing name.

The winner was not the Hyperion recording but a live recording from the La Monnaie Festival in 1996 - the Hyperion does see to still be available but currently out of stock.

**Beef Oven!** · 12-05-18, 15:03

Originally posted by Barbirollians View Post

The winner was not the Hyperion recording but a live recording from the La Monnaie Festival in 1996 - the Hyperion does see to still be available but currently out of stock.

Oops! I just assumed it was the Hyperion recording!

I hope I've not caused anyone to buy the wrong one!

The Hyperion one is available on download.

**ferneyhoughgeliebte** · 12-05-18, 15:23

Originally posted by Beef Oven! View Post

Oops! I just assumed it was the Hyperion recording!

So had I.

So, to clarify (for my own benefit as much as anyone else's), the laurels went to:

Amazon.co.uk

https://www.amazon.co.uk/gp/offer-listing/B016VKBK4C

... rather than to:

Amazon.co.uk

https://www.amazon.co.uk/Britten-Sonets-Michelangelo-Folksong-Settings/dp/B00005JJ3P

?

**Nevilevelis** · 12-05-18, 15:25

Originally posted by ardcarp View Post

I thought Kate Kennedy had great insight into the tenor voice! I would have preferred the whole thing to have reviewed recordings other than Britten/Pears. The latter is such an iconic partnership (overused word, but here the only one) and Pears' voice is so idiosyncratic (in a good way) it's almost impossible to hear those songs without referring back to them all the time. KK was 'on the money' with reference to Robert Tear, who at an early stage in his solo career began a Pears-type voice production. Even Anthony Rolfe Johnson, IMV one of the finest finest English tenors (along with Ian Partridge), resorted to a bit of Pears-ish vocal technique in Winter Words. I'm glad ARJ 'won', though any serious student of Britten songs must have Pears in their collection...and probably does already.

I though KK gave an excellent review, full of spot-on comments about Britten's setting, Hardy's poems and the tenor voice.

As a sort of naughty footnote, I'd add that Pears' throaty vowels and smudged consonants made his words less clear than almost any of the other singers!

I agree, but in terms of overall interpretation, it's invaluable. When I studied it with ARJ at the Britten-Pears School, I was quite under his spell as an interpreter of this work. Some down there (locals sitting in on masterclasses) bitched to me that they thought ARJ chewed up the words a little, as if in defence of Pears' approach. I declined to comment, save for saying how much I admired his recording.

NVV