SOMM Recordings is delighted to announce the World Premiere recording of Charles Villiers Stanford’s opera The Travelling Companion. The live recording features Julien Van Mellaerts in the title role and a cast that includes David Horton (John), Kate Valentine (The Princess), Pauls Putnins (The King), Ian Beadle (The Wizard) and Felix Kemp (The Herald) with Toby Purser conducting the New Sussex Opera Orchestra and Chorus. First staged in 1925 and the last of Stanford’s nine completed operas, The Travelling Companion is based on a fantasy-laced story by Hans Christian Andersen with a libretto by Henry Newbolt (whose Songs of the Sea and Songs of the Fleet Stanford had previously set). It finds the composer at his most economic but expressive – a last, remarkable demonstration of his brilliance as an orchestrator. The result, says Stanford biographer Jeremy Dibble in his authoritative booklet notes, “seems like an antidote to the heavier textures of Wagner and Richard Strauss and rivals the fairy-tale operas of the Russians”. Anticipating Puccini’s Turandot, at the heart of The Travelling Companion is a Princess whose suitors must answer an impenetrable riddle to win her hand or die when they fail. There are intimations of Britten’s Peter Grimes, too, in the sophisticated use of the Chorus, leading Jeremy Dibble to observe: “If Stanford’s last opera was given time to establish itself in the repertoire, not only would it provide an entirely new perspective of this highly versatile and imaginative composer, but it might also change our view of our operatic history”. This first recording of The Travelling Companion was recorded live at Saffron Hall, Saffron Walden in December, 2018. Previous SOMM recordings of Stanford’s music include two “essential listening” recommendations from Gramophone for String Quartets Nos.3, 4 & 7 (SOMMCD 0185) and from MusicWeb International for Partsongs (SOMMCD 0128).

Making an impressive solo debut on SOMM this month is the young, fast-rising pianist Mishka Rushdie Momen. No stranger to SOMM, she joined two of today’s finest pianists – Valerie Tryon and Peter Donohoe – in Mozart’s dazzling Piano Concerto for Three Pianos, K242 in 2018. Mishka studied with Joan Havill, Richard Goode and Imogen Cooper and was mentored by Sir András Schiff, who presented her in recitals throughout Europe and in New York for his acclaimed Building Bridges series. This superbly realised recital includes Variations by Robert and Clara Schumann, Brahms and Mendelssohn, and first recordings of two new works, specially commissioned by Mishka for this recording, by Nico Muhly and Vijay Iyer. A single theme from Robert Schumann’s Bunte Blätter is the prompt for completely different, sometimes opposing, sets of musical mutations, the result as exciting as it is intriguing. A birthday gift for her husband, Clara Schumann’s Variations on a Theme of Robert Schumann are “an outpouring of generosity and love” that inspired Brahms’s Op.9 Variations (Op.9), which Rushdie Momen describes in her booklet notes as “one of his most intimate and personal expressions”. The “burst of harmonic and rhythmic invention” that are Robert Schumann’s Op.5 Impromptus, and Mendelssohn’s “concise, rigorously constructed” Variations sérieuses were both modelled on Beethoven’s Eroica Variations. Completing a recital brilliantly illustrating Rushdie Momen’s conviction that “the possibilities of the variation form seem infinite” are two world premiere recordings: Nico Muhly’s Small Variations – “a five-minute chorale with an explosion halfway through it” – and Vijay Iyer’s Hallucination Party, a “fever dream” packed with surprises. A Guildhall School of Music and Drama graduate, Mishka Rushdie Momen is also a committed chamber musician who has partnered Steven Isserlis, Midori and members of the Endellion, Belcea and Artemis String Quartets.

SOMM Recordings is pleased to announce Leon McCawley's Second Volume of Piano Sonatas by Franz Joseph Haydn. McCawley's admired first volume, pairing Haydn's Sonatas and Variations, received a coveted Diapason d'Or for playing of "great intelligibility and sensitivity". Sonata No.60 from Volume I has been selected by Diapason to appear on it's next album, Les indispensables de Diapason, featuring six Haydn sonatas played on different keyboards. In his authoritative booklet notes, Bryce Morrison makes a persuasive argument for the Piano Sonatas in "celebrating Haydn's endless innovation, richness and variety and, most importantly, his humanity". Those qualities are brilliantly realised by McCawley in six sonatas spanning 25 years. Caught on the cusp of youth and maturity, Sonata No.19 is a work of lyrical and dramatic contrasts with a unique structure and surprising innovation. At odds with the inherited image of Haydn as a prankster, Sonata No.47 inhabits a dark, even menacing world that concludes in abrupt savagery. The Bach-accented Sonata No.50 is a work characterised by scintillating writing, Sonata No.54, in Morrison's memorable phrase, "falls like balm on the ear". Ushering in new approaches and radical thinking, two late Sonatas - Nos. 58 and 59 - show Haydn anticipating Beethoven with prescient command of tone and combustible technique. Leon McCawley's previous recordings for SOMM have received wide critical praise. Gramophone hailed his complete Rachmaninov Preludes as "a distinguished issue", and the "superb collection" of Samuel Barber's piano music was an Editor's Choice. Fanfare described his playing of Brahms as "music-making of a very high order" with International Record Review adding: "When all is said and done, it is difficult to know whether McCawley's refined piano playing, his natural yet cultivated musicality or his boundless imagination warrants the greater praise. You must hear the recording."

SOMM Recordings is pleased to announce the first commercial release of Composers at the Savile Club, pianist Alexander Karpeyev’s vivid and varied recital celebrating the 150th anniversary of the venerable London club. Devised by Karpeyev and Jeremy Barlow (who will celebrate his 60th year as a Savile member in 2020 and also provides informative booklet notes) the recital includes music for solo piano by 11 leading Savile members to chart the development of British music from late romanticism to modernism – and back again. Sam Pierce and Bradley Jones perform the two celebratory trumpet fanfares, by former Savilian Malcolm Arnold – his Savile Centenary Fanfare – and current Savile member, Julian Anderson – Fanfare: SC–GH composed for the sesquicentennial anniversary – that frame Karpeyev’s recital. Among British luminaries featured are the composer-knights Edward Elgar (the lyrically atmospheric In Smyrna), William Walton (Façade’s delightful, dancing ‘Popular Song’), Malcolm Arnold (Variations on a Ukrainian Folk Song his most substantial work for solo piano) and Hubert Parry (the delicately antique Hands Across the Centuries Prelude). Other notable names include Roger Quilter, Herbert Howells, Arthur Benjamin, William Alwyn and Henry Balfour Gardiner. Two Irish dances by Dubliner Charles Villiers Stanford, the Romanian-born Francis Chagrin’s Suite Roumaine and three Musical Portraits by American Virgil Thomson complete a fascinating portrait of the Savile Club’s rich musical heritage. Located in London’s Mayfair, the Savile Club was founded in 1868, its motto – “Sodalitas Convivium” – translating as “good fellowship and conviviality”. The Savile’s informality has attracted a host of distinguished names from the arts and sciences, including composers not featured on this recording Sir Arthur Bliss, William Lloyd Webber and Bernard Hermann and 17 Nobel Prize winners, among them poets Rudyard Kipling and WB Yeats, and physicists Ernest Rutherford and John Cockcroft.

SOMM Recordings is honored to release one of the last recordings made by the much-loved and admired soprano Sally Silver before her death at the age of 51 in 2018. Silver’s third release on SOMM, La vie d’une rose returns to the evocatively perfumed songs of Jules Massenet following 2015’s well-received Les amoureuses sont des folles. Accompanied again by the renowned conductor- pianist Richard Bonynge – who also provides a moving, specially written tribute – she is joined by the mezzo-soprano Christine Tocci on six duets. The 25 (of Massenet’s 285) mélodies heard here offer a marked contrast to the familiar image of the composer’s famed operatic credentials. As Massenet expert Hervé Oléon says in his authoritative booklet notes: “Massenet, the song composer, was, in his own words, rather more at home in salons – this ‘bourgeois artist at the fireside’ as he liked to describe himself”. Embracing a multitude of emotions, sacred and profane, these songs employ wide-ranging forms and a broad musical palette to always captivating ends while also revealing a composer perpetually developing, keen to experiment and looking towards the future. La vie d’une rose is produced by the late soprano’s husband Jeremy Silver (Director of the Opera School at the University of Cape Town) who also provides the translation of Hervé Oléon’s booklet notes. Of Sally Silver’s previous releases with SOMM, her first volume of Massenet songs, Les amoureuses sont des folles (SOMMCD 0151), received the coveted Orphée d’or from L’Académie du disque lyrique and was a Recording of the Month for MusicWeb International, who described it as “A pure delight... [Silver and Bonynge] bring inspired, sympathetic, thoughtfully nuanced readings to these songs”. Songs by William Vincent Wallace (SOMMCD 0131) was hailed by Classical Ear as “A release full of delightful discoveries distinguished by persuasive performances of idiomatic charm”.

This fine collection of arguably the Greatest Film Music ever written brings together on one album music from some of the most memorable films ever made. Opening with the unforgettable music from the ground-breaking 1977 movie ‘Star Wars’ by the greatest living composer of film music, John Williams, this selection includes a unique 14-minute concert suite of music from the film. Other Williams scores for Stephen Spielberg blockbusters include those for the unforgettable fantasy ‘E.T. – The Extra-Terrestrial’ and the haunting science fiction ‘Close Encounters of the Third Kind’. This album also looks back to the heyday of Hollywood, with scores by Max Steiner – from ‘Gone With the Wind’ – and the undisputed Master of the genre, Erich Wolfgang Korngold, with music from ‘The Adventures of Robin Hood’ and the weepie ‘Escape Me Never’. The hit theme from ‘The Big Country’ by Jerome Moross is also here, and British music from legendary U.K. movies widens the scope of this unique collection, with two great film scores by Sir William Walton – ‘Henry V’, starring Laurence Olivier, and ‘The First of the Few’ – the famous ‘Spitfire Prelude and Fugue’ – as well as the great Ron Goodwin’s memorable ‘633 Squadron’ alongside music from two Soviet composers: Prokofiev’s score for ‘Alexander Nevsky’ and Aram Khachaturian’s famous ‘Adagio from Spartacus’, featured in the romantic historical drama ‘Mayerling’. All in all, this SOMM release should form part of any collection, conducted by the great Scottish-born Maestro Iain Sutherland, directing the Philharmonic Promenade Orchestra of Hilversum.

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REVIEW:

Expertly recorded by conductor Iain Sutherland and the Philharmonic Concert Orchestra, Great Classic Film Music captures the magic of cinema through the music we know and love.

– Classic FM

This outstanding release is first to couple music by the sister and wife of two great Romantics – incredibly gifted women who were also fine composers, whose music has remained little-known for almost 175 years. This unique collection proves that composers Felix Mendelssohn and Robert Schumann weren’t the only outstanding creative musicians in their families. Fanny Mendelssohn was Felix’s older sister – but although one of the famous composers of his day, he regarded Fanny as being more gifted than himself. In the 1840s the idea of a woman composer being of comparable stature to her brother or husband was unthinkable. Yet Fanny continued to compose, with some of her music being issued under Felix’s name. Today, with the emancipation of women established, we can look anew at the forgotten work of these remarkably gifted ladies. On this beautifully-recorded new album from SOMM Recordings, Fanny Mendelssohn’s great Piano Trio (her last major work) receives a performance of notable insight from the gifted players of The London Bridge Trio – as does Robert Schumann’s first Piano Trio. Robert’s wife Clara bore him eight children and went on to become one of the greatest and most admired female pianists of her era. To balance these two great chamber-music masterpieces, we have music by Felix – a rare recording of his beautiful original ‘Song Without Words’ for cello and piano – and also by Clara, her moving ‘Three Romances’ for violin and piano, which the members of The London Bridge Trio play to perfection. This is, without doubt, a hugely significant and utterly unique release in terms of repertoire and the present-day liberation of women composers.

Volume II of SOMM Recordings' Beethoven Plus series sees violinist Krysia Osostowicz and pianist Daniel Tong reuniting to conclude their ambitious project to commission 10 leading contemporary composers to write 'companion' pieces for - and inspired by - Beethoven's seminal set of 10 Violin Sonatas. The result is a fascinating conversation between past and present in which Beethoven's mastery of the form prompts illuminating - and often surprising - commentary from entirely modern perspectives. Volume II includes Beethoven's three most substantial Sonatas - Opp.30 No.2, 47 and 96 - and the enigmatic A major (Op.30 No.1); works that go to the very heart of the composer's life, aspirations and music. New here are complementary and contrasting works that include Kurt Schwertsik's probing, sincerely touching two-movement Unterwegs Nach Heiligenstadt, which begins in angst and ends in sublime C major; Matthew Taylor's whirlwind Tarantella Furiosa, a virtuosic encore of sorts to Beethoven's Kreutzer Sonata; and Philip Ashworth's Air, a lilting, lyrical commentary that seems to offer a response, in it's conclusion, to Beethoven's famously rhetorical query "Must it be so?" David Matthews' Sonatina completes the new commissions in a compact, concentrated form that emulates Beethoven with almost forensic attention to detail, even while opening out his interrogation of the Op.96 Sonata (Beethoven's last such work for violin and piano) with challenging demands on both violin and piano. Beethoven Plus was presented in a series of concerts by Krysia Osostowicz and Daniel Tong (who provides informative booklet notes) at the Kings Place, London in 2015 and has since been performed in leading venues around the UK. Reviewing Volume I, Gramophone hailed "Osostowicz and Tong's interpretative style [as] patient, affectionate, warmly conversational, sensitive to harmonic detail", it's reviewer adding: "I think I may have sighed with pleasure".

The much anticipated second volume of Peter Donohoe's complete survey of Mozart's Piano Sonatas for SOMM Recordings focuses on three sonatas produced during the composer's ill-fated journey to Paris in 1777. This new release follows remarkable critical acclaim for Volume 1 including the accolade of BBC Music Magazine's Recording of the Month which declared: "It was high time someone blew the cobwebs off this still under-appreciated repertoire, and Donohoe is clearly the person to do it." Volume 2 promises more revealing performances from Donohoe, applauded in Gramophone's review of Volume 1 for demonstrating "a personal involvement that is as touching as it is fascinating and finely considered". As if anticipating the mighty Jupiter Symphony, with uncharacteristically detailed tempo indications and an improvisatory quality in places, the Piano Sonata in C major (No.7, K309) may have been composed with Rosa Cannabich in mind, Mozart's 15-year-old student giving it's first performance in late 1777. In a relatively rare key signature for Mozart, the A minor Piano Sonata (No.8, K310) was composed in 1778 immediately after the death of the composer's mother. Intense and expressive, it shows, Christopher Morley succinctly suggests in his informative notes, "Mozart at his most grim". Spacious, full of grand gestures and animated display, the Piano Sonata in D major (No.9, K311) is "a big, spectacular Sonata, full of effect and color" that explores the full range of the keyboard with winning exuberance. The A minor Rondo (K511) was composed in March 1787 and, notes Christopher Morley, "unfettered by the obligations of orchestral constraints, [it] builds in chromatic intensity and melodic urgency to emerge as one of the most profound movements ever penned by the composer". Volume 2 of Peter Donohoe's Mozart Piano Sonatas delivers on the hope expressed by The Classical Review of it's predecessor to "surely make listeners eager to hear the next volumes".

SOMM RECORDINGS is delighted to announce the release of Elgar from America, Volume I featuring historic recordings by a legendary cellist, two American orchestras and a trio of the 20th century’s greatest conductors. The results offer a fascinating transatlantic perspective on a titan of British music and includes two masterpieces and a symphonic study which Elgar considered his best orchestral piece.

Elgar visited America annually from 1905-07 and again in 1911 where his music found articulate champions and a place in the country’s affections, the trio of his Pomp and Circumstance March in D an essential, long-established part of ceremonies accompanying America’s graduation tradition. The featured recordings date from the 1940s and have been restored and remastered by the multi-award-winning audio restoration engineer Lani Spahr, who also provides informative booklet notes.

The Enigma Variations were, by far, America’s favourite Elgar work in the first decade of the last century. The “fleet, error-free performance” by the NBC Symphony Orchestra conducted by Arturo Toscanini in New York’s Radio City Studio on November 5, 1949 appears here on album for the first time. New in any form is Artur Rodzin´ski’s never-before released October 10, 1943 Carnegie Hall account of Falstaff Symphonic Study in C minor with the New York Philharmonic-Symphony Orchestra.

Cellist Gregor Piatigorsky joined the NYP-SO under John Barbirolli for a November 10, 1940 Carnegie Hall performance of the Cello Concerto. Piatigorsky never recorded the work commercially and this is the only known existing recording of him playing the piece. Lani Spahr’s previous restorations of historic Elgar recordings for SOMM Recordings include Elgar Rediscovered and the four-disc set Elgar Remastered which featured recordings from the composer’s own collection and was hailed by Audiophilia as “a fascinating achievement which will have you wishing for more”.

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REVIEW:

Elgar enthusiasts will find it intriguing, not least because it offers performances by some performers who one does not normally associate with Elgar’s music. This particular Toscanini performance of ‘Enigma’ is new to CD and Rodzinski’s Falstaff has never been issued commercially in any format. It’s also healthy and stimulating to hear performances from outside the English performing tradition. There is some surface noise at times but in general Lani Spahr’s transfers seem to me to have been extremely successful. There is applause after each work but otherwise the audiences are commendably quiet.

– MusicWeb International

SOMM RECORDINGS is proud to announce the release of Kathleen Ferrier: In Celebration of Bach, a collection of historic performances with Britain’s favorite classical singer of the 20th century very much the star attraction. It includes the first recorded appearance of Ferrier singing Magnificat, with the Vienna Philharmonic conducted by Volkmar Andreae in the Grosser Musikvereinssaal, from the legendary 1950 International Bach Festival. A rarity in Ferrier’s repertoire – she had sung it only once before and was never to again – the Magnificat was a work the much-loved singer felt a close affinity with, joyfully declaring: “Oh! The Magnificat – I am in my element in this sort of music!” The occasion was a significant one for the singer, as Ferrier authority Paul Campion notes in his extensive, detailed and informative booklet notes: “It was a considerable honor for Ferrier to be invited... what was quite astonishing was that of all the 15 soloists taking part [she] was the only non-native German speaker.... Her international success was indeed at its zenith.” London’s fabled Kingsway Hall provides the venue for two memorable Cantata performances – No. 11, Praise our God, and No. 67, Hold in affection Jesus Christ – recorded by Ferrier in 1949 with tenor William Herbert, bass William Parsons and Dr Reginald Jacques’ Cantata Singers and Jacques Orchestra. From the same venue and period, Jacques and the Cantata Singers offer a bewitching encore in the sublime Jesu, Joy of Man’s Desiring. Paul Campion, author of the authoritative Ferrier: A Career Recorded provides specially commissioned booklet notes.

Following Great American Sonatas, his admired debut on SOMM RECORDINGS, pianist Nathan Williamson turns to British piano music of the 20th century in Color and Light, a revealing exploration of how the past influences the present and the new. A century-spanning programme from Delius's quixotic 1887 Nocturne (more familiar as An Nacht, the Florida Suite's finale, here in Robert Threlfall's 1986 transcription) to Anthony Herschel Hill's combustible Toccata of 1985 also lights on three other distinctive but highly contrasted composers. Modernity makes itself felt in Elisabeth Lutyens' The Ring of Bone (1975), which strikingly employs the use of spoken text in what Williamson describes in his booklet notes as "a bold and heartfelt gesture". William Alwyn's Twelve Preludes (1958) pay a glancing nod to Lutyens' serialist techniques even while displaying "a peculiarly English combination of both tonality and modality" characteristically his own. Peter Dickinson's "postmodern, poly-stylistic" Paraphrase II (1967) is the work of a composer open to the broadest influences, it's seven sections inventively re-working an earlier three-part motet and receiving here their first studio recordings. Slowly emerging into the light, Anthony Herschel Hill's Litany (1992) and Toccata (1985) - heard here in first recordings - are the product of a wholly individual compositional voice, boasting, says Williamson, "some of the most gorgeously idiomatic and exhilarating piano writing of any late-20th century composer". Delius's Prelude and Duet from his one-act opera Margot la Rouge, composed in 1902 yet un-performed until 1983, are distinctive for their delicate harmonic textures and colors, masterfully transcribed for piano by Maurice Ravel. Featuring music by Bernstein, Copland, Charles Ives and Lou Harrison, Great American Sonatas, Nathan Williamson's 2017 SOMM Recordings debut was hailed by Gramophone as "a release of distinction".

The promise of rebirth and rejuvenation is celebrated by SOMM Recordings’ Songs of Renewal, a collection of choral works – including three first recordings – by seven living British composers performed by Bath Camerata under musical director Benjamin Goodson. Joining the ensemble are soprano Elizabeth Cragg and composer-pianist Huw Watkins, whose Shakespeare setting The Phoenix and the Turtle (2014) moves puissantly from monotone chanting to solemn chorale for an allegorical poem mourning the passing of ideal love. Commissioned by Bath Camerata to mark its 30th anniversary in 2017, the disc’s title track is a three-movement choral suite by Will Todd reflecting his interest in jazz music and featuring lyrics by the composer and former UK Poet Laureate Andrew Motion. The earliest work, Jonathan Dove’s The Passing of the Year (2000), is a rich and varied tribute to the composer’s late mother cast in seven sections and setting an eclectic array of texts by William Blake, Emily Dickinson, Thomas Nashe and others. To words by E.E. Cummings, Judith Weir’s a blue true dream of a sky (2003) is, says English music specialist Jeremy Dibble in his booklet notes, “a revelation of the divine”. Cecilia McDowall’s Standing as I do before God is a moving centennial tribute to the British nurse Edith Cavell executed by the German army in 1915. Two pieces by long-time SOMM collaborator, composer-baritone Roderick Williams, complete the disc. The setting of George Herbert’s Eucharistic poem Love bade me welcome (2007) is, in Jeremy Dibble’s words, “an harmonically sumptuous, largely homophonic narrative” that speaks of atonement and redemption. Commissioned by Bath Camerata in 2018, Everyone Sang sets a familiar text by First World War poet Siegfried Sassoon in a poignant and powerful riposte to the futility of war that holds out the curative promise that “the singing will never be done”.

SOMM RECORDINGS’ coupling of string quartets by teacher and pupil William Alwyn and Doreen Carwithen offers a revealing glimpse – in illuminating performances by the Tippett Quartet – into the relationship between a master composer and his promising student who became one of the great ‘what might have beens’ of British 20th-century music. Alwyn’s position as a leading British composer was cemented by his prolific output (totaling more than 500 scores) while Carwithen abandoned composing altogether to act as Alwyn’s amanuensis and secretary, eventually becoming his wife in 1975. Composed in 1948, Alwyn’s atmospherically charged Three Winter Poems are charming works that benefit from the evocative, emotional immediacy that characterized his cinema scores. His last major work, 1984’s String Quartet No.3, was a valedictory celebration of what the composer called “this most perfect of mediums”. Unexpectedly animated (Alwyn was 79 at the time), it ends, says the William Alwyn Foundation’s Andrew Knowles in his authoritative booklet notes, “in peaceful serenity, providing a moving and fitting swansong to Alwyn’s composing career”. While the prolific Alwyn composed 16 string quartets, Carwithen produced just two, both early in her career, both displaying, says Knowles, “a remarkably sound technique and a natural sense of warm emotion and drama”, and both heard here in only their second recording. Composed in 1945 while she was still a student at the Royal Academy of Music, the String Quartet No.1 is a work of striking contrasts, the restless key signatures, variegated rhythms and stretched dynamics of the first movement complemented by its chiaroscuro-like companion conveying, by turns, moods of gentle tranquility, passion and austerity.

SOMM Recordings is delighted to announce the release of star-in-the-making mezzo-soprano Kathryn Rudge’s celebration of the songs of ‘light music’ master Eric Coates, accompanied by pianist Christopher Glynn. Fresh from rave reviews for The Hills of Dreamland, a ravishing collection of Elgar’s orchestral songs, Kathryn Rudge returns with a delectable recital of era-defining songs by the composer of the stirring The Dam Busters March, exuberant Knightsbridge march and the timeless By the Sleepy Lagoon, familiar to radio audiences around the world as the theme to BBC Radio 4’s Desert Island Discs since 1942. The dreamy reverie of that signature song, so evocative of a more innocent age, is matched here by the carefree rustic knowingness of Reuben Ranzo, the Four Old English Songs, the affecting melancholia of The Green Hills of Somerset and the exquisite four-part song cycle The Mill o’ Dreams. Coates belongs to an era of gentler music-making but a no less passionate and emotional one, as Rudge’s ardent singing of Sea Rapture, her beseeching approach to I Pitch My Lonely Caravan and honeyed take on The Fairy Tales of Ireland eloquently testifies to. Kathryn Rudge has been described as “one of Britain’s brightest young mezzos” (What’s on Stage) with her voice lauded for its “tremendous reserves of power, impeccable intonation, the capacity for a gloriously sustained legato and, most interesting of all, a distinctive vocal quality” (The Times). Christopher Glynn is fast emerging as one of the most exciting young accompanists of the day. Opera News has described him as “an exemplary partner, by turns impossibly delicate, colourfully nimble and thunderously firm”, while the Birmingham Post praised his partnering in concert of fellow SOMM artist Roderick Williams for its “reassuring authority and empathy”. Authoritative booklet notes are provided by English music specialist Jeremy Dibble.