Benjamin Britten's Canticles

Canticle I: My beloved is mine and I am his; Canticle II: Abraham and Isaac; Canticle III: Still falls the Rain; Canticle IV: Journey of the Magi; Canticle V: The Death of Saint Narcissus. Priaulx Rainier Cycle for Declamation

Tenor James Way Tenor, Natalie Burch piano, Lotte Betts Dean mezzosoprano, Hugh Cutting countertenor, Ross Ramgobin baritone, Annemarie Federle horn, Alis Huws harp.

Delphian DCD34340
https://www.delphianrecords.com/

This recording of Benjamin Britten's five Canticles captures the essence of the composer's unique voice with remarkable emotional depth and technical precision. Tenor James Way, alongside his wife and pianist Natalie Burch, creates a compelling intimacy that echoes the special relationship between Britten and his partner and muse, Peter Pears, for whom these works were originally written.

Britten's gift for tenor writing and his operatic sensibilities shine throughout this superbly recorded album. Way demonstrates exceptional control of phrasing and dynamics, particularly in the softer passages where his nuanced delivery creates moments of profound beauty. Mezzo-soprano Lotte Betts-Dean joins Way in 'Abraham and Isaac,' the second Canticle, as the voice of God. Originally premiered in 1952 by Pears and contralto Kathleen Ferrier, this dramatic dialogue is rendered with clarity and conviction by both vocalists. Their distinct, pure tones blend beautifully in the conversational elements, culminating in a peaceful conclusion after 17 minutes.

Burch's piano accompaniment provides sympathetic support throughout, while countertenor Hugh Cutting adds atmospheric depth to the ensemble. Annemarie Federle's horn playing in the third Canticle grows increasingly confident and warm as the piece progresses.

The fifth Canticle, 'The Death of Saint Narcissus,' features harp instead of piano—a necessity due to Britten's declining health, which prevented him from performing alongside Pears. As Katy Hamilton explains in her excellent liner notes, this instrumental choice becomes a striking virtue. The harp's fluid figurations evoke the watery mirror of Narcissus's demise, with Britten's inventive writing exploring the full range of the instrument's capabilities.

The album concludes with Way performing Priaulx Rainier's Cycle for Declamation (1954) a cappella. This setting of John Donne's poetry, written for Pears in 1955, showcases Way's remarkable versatility through its intense, introspective qualities that complement Britten's Canticles. It provides a powerful finale to an atmospheric recording.

Credit must also go to the Delphian recording team for capturing the subtle nuances of these performances with exceptional clarity and warmth. The outcome is an essential recording for admirers of Britten's vocal writing and a testament to the artistry of all performers involved.