Part of Royal Opera's Britten centenary celebrations � 'Susan Bullock is an awe-inspiring Gloriana... Toby Spence, as Essex, has regained all his pristine vocal lustre' The Independent � 'Director Richard Jones... staging... is both moving and surprising... ' The Daily Telegraph � Extra features: Inside Rehearsals, Gloriana Behind the Scenes, cast gallery.

Without doubt, Benjamin Britten (1913-76) left an indelible impression on all genres of 20th century English music. His vocal repertoire in smaller instrumentations is particularly fascinating. With three of Britten's "Canticles" as well as a selection of his best "realizations" (or "arrangements", if you will) of songs by Henry Purcell (1659-95), this recording provides an insight into the mature phase of the renaissance of the English song. The "Canticles" (Nos. 1-3) presented on this recording are masterful, morally charged pieces. They require the singer and pianist to pay careful attention to the text, which Britten uses as a starting point for all his works. The "Purcell Realizations" further illustrate Benjamin Britten's genius. Benjamin Britten creates the ideal balance between an incredibly captivating music and the service of the text without overburdening its message. This recording illustrates Britten's outstanding position among the song composers of the 20th century.

Classical Music

Classical Music

Classical Music

Classical Music

Winner of the coveted Gramophone Record of the Year award!

‘The burly Aussie tenor is now even more identified with this ill-fated protagonist than Peter Pears, the first Grimes. And everywhere Skelton has sung the part, whether at English National Opera, the Proms, the Edinburgh festival or now on this international tour of a concert staging mounted by the Bergen Philharmonic, the conductor has been Edward Gardner. Theirs is one of the great musical partnerships, and they continue to find compelling new depths in this tragic masterpiece.’ – Richard Morrison – The Times. This studio recording was made following the acclaimed production at Grieghallen, in Bergen, in 2019 (repeated in Oslo and London and reviewed above). Luxuriant playing from the Bergen Philharmonic and a stellar cast under the assured direction of Edward Gardner make this a recording to treasure.

REVIEW:

The net joy of this new recording is that Skelton, now a Grimes of considerable experience and range, has found in his vocalisation of the role a well-judged mixture of obsessive professional (sometimes rough) fisherman and troubled, confused and persecuted outsider. All this is precisely framed by Gardner’s conducting and his choice of cast. An exciting, committed, necessary and brilliantly recorded version for our times.

– Gramophone (Recording of The Month, October 2020

Henry James’s novella has become notorious as at once the most stylish and elusively ambiguous of all nineteenth-century ghost stories. In June 1932, the eighteen-year-old Benjamin Britten heard a radio adaptation of James’s story and noted in his diary that it was ‘wonderful, impressive but terribly eerie & scary’. He read the novella for himself in January the following year, telling his diary that he still found it ‘glorious & eerie’ and judging it to be an ‘incredible masterpiece’. His subsequent operatic setting is unequivocally a masterpiece, and here receives a first-class production made for television with an outstanding cast led by Robert Murray and Rhian Lois, accompanied by Sinfonia of London and conducted by John Wilson.

These are outstanding performances, as good or better than the composer's own. Edward Gardner tears into the Four Sea Interludes with uninhibited excitement. It's great to hear the high violins and flutes in "Dawn" swooping and soaring like the gulls that they're supposed to be evoking. "Sunday Morning" has an infectious bounce, while "Moonlight" casts a rapt stillness abruptly shattered by perhaps the most vicious storm on disc. It's one of those versions you will listen to and say, "Finally, that's the way it should go!"

The suite from Gloriana is still a comparative rarity, which is a pity, as the music really is first-rate Britten. But then, so is the opera; why anyone cares that it flopped at its premiere is beyond me (the Queen allegedly was not amused, as if her opinion matters). The Lute Song is very nicely sung by Robert Murray, but the version for oboe rather than voice strikes me as more appropriate within the context of the symphonic suite as a whole. Granted, Britten used Peter Pears, but that was an opportunity for him to give his partner something to do while on tour.

Finally, there's the Cello Symphony: a tough, somewhat gnarly work that receives a performance every bit as fine as Britten/Rostropovich, which still remains the benchmark version. Paul Watkins and Gardner somehow make music out of the low, grotty opening, pacing the movement as unerringly as did Britten himself. The finale works its way up to a wonderfully life-affirming conclusion, and Watkins does a wonderful job with the lengthy preceding cadenza. In short, this release is a major entry in the Britten discography, and the sonics are every bit the equal of the interpretations.

--David Hurwitz, ClassicsToday.com

Classical Music

Britten: Rape of Lucretia (The)

Britten: The Choral Edition, Vol. 2

English 20th century chamber opera Turn of the Screw is one of Benjamin Britten's most popular works. Premiered in 1954, the opera is based on a novella of the same name by Henry James. This recording of the opera is taken from the Polish premier at the 19th Ludwig van Beethoven Easter Festival. The album is endorsed by the Ludwig van Beethoven Association. Lukasz Borowicz, under who's baton this recording was performed, said of the opera, "In terms of dramatic precision, it is a masterpiece. The composer oozes the discreet charm of evil, which in this work is both attractive and terrifying."

Every song is a journey: a voyage of the human experience explored through the intersection of poetry and music. In fact, a song serves as a natural extension of the original poem that allows us to experience words in a new and insightful way. A composer of songs is then also a poet: a creator of profound meaning through text, meter, harmony, texture, and lyricism. The great English composer Benjamin Britten (1913-1976) is a prime example. A great lover of poetry throughout his life, and friend to such great poets as W. H. Auden, it is difficult to think of another song composer who consistently chose poems of such high quality and breadth to set to music. Furthermore, Britten seems to fall in line as the rightful successor to Franz Schubert in the way he virtually composes the essence of a poem musically. On this recording by outstanding tenor Eric Rieger and renowned accompanist JJ Penna, we explore the Poet's Journey in three of Britten's most important song cycles, each of which is bound to the works of a great poet: Michelangelo, Thomas Hardy, and John Donne. In each work, we discover Britten's gift of lyricism, superb understanding of the voice, and exceptional pianistic capabilities. One finds a clear reverence to Henry Purcell through the use of florid, expansive setting of text and the use of ancient compositional techniques such as the ground bass. Britten skillfully combines these concepts with modern influences to create something unique and exciting. This album is, without doubt, one of the finest collections of Benjamin Britten's gift to the world of music.