You have several excellent choices in this repertoire, from Peter Pears’ inimitable, referential performances with Britten at the piano to Philip Langridge’s ever-solid, Pears-influenced interpretations (read review here), to this from tenor Mark Padmore, the least Pears-like renditions of The Holy Sonnets and Winter Words but every bit as convincing and moving and gripping in their individuality and in their lyrical vocal beauty and powerful interpretive sensibility. As a performer of the Holy Sonnets of John Donne and Winter Words cycles you won’t get very far without a deep respect for and understanding of the poetry, nor will your musical utterances ring with much sincerity without a firm grasp of Britten’s carefully wrought structures, symbolic cues, and thematic devices. A symbiotic relationship of voice and piano is crucial–one is inseparably bound to the other.
Do not fear: Padmore is a master of the difficulties of the dark and dangerous world of Britten’s John Donne settings as much as he is a sensitive and sensuous evocateur of the uniquely enlivening atmospheres depicted in the five folksong arrangements (“I wonder as I wander” is especially lovely!). His piano partner Roger Vignoles is an unfailingly artful and agreeable accomplice, their collaboration achieving its most memorable moments in the Op. 52 Winter Words song cycle. Between Padmore’s range of vocal expressions and Vignoles’ alternately playful and poignantly illuminated effects (trains, a creaky table, birds) we have a truly remarkable dramatic experience that’s worth many repeat hearings. Not only that, but when compared to other renditions–by Langridge, Bostridge, and yes, even Pears–Padmore’s performances are fully worthy of Britten’s conceptions, which of course were created for Pears and–rightfully–always will be tied to his unique interpretive style.
I have to admit, when I hear Pears and Britten perform these songs, there’s a communicative aspect that goes right to the heart, the gut, the soul. Whether you’re a fan of Pears’ voice or not, he tells the story of Britten’s songs like no one else, and if you’re a fan of Britten’s music you can’t do without those extraordinary recordings. But you also shouldn’t miss out on modern interpretations of these 20th-century masterpieces–and in that regard Mark Padmore and Roger Vignoles won’t disappoint either newcomers or seasoned aficionados. The London studio sound is excellent, the Steinway piano a robust, vibrant, well-balanced asset, and the liner notes–by Vignoles–nicely succinct yet very informative. Highly recommended! [6/9/2009]
