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Vivid soloists in works that span Britten's career.Imaginative programme,Highly recommended. EDITORS CHOICE --Gramophone,July'11
This disc,part of a series that clearly deserves the most serious attention from Britten collectors,is very strongly recommended. --IRR,May'11
Maxim Rysanov compels in introspective conversation with the excellent BBC Symphony strings in Lachrymae and is also behind the very fine self portrait of the teenage composer in Two Portraits. Performance ***** Recording **** --BBC Music Magazine,July'11
Britten's extraordinary ability to sound engagingly fresh and contemporary without resorting to gimmicks or 'isms' comes bubbling to the surfce in these fine performances. **** --Classic fm Magazine,July'11
Most people will, I suspect, be drawn to this disc by the thought of Sarah Connolly singing Phaedra, the cantata that Britten wrote in 1975 for Janet Baker, with whom Connolly has often been compared. And she is indeed very fine in it, albeit more self-dramatising than Baker and therefore less sympathetic. The real stunner, however, is Lachrymae, Britten's Reflections on a Song of Dowland, originally written for viola and piano in 1950, though given here in the orchestral version Britten completed shortly before his death in 1976. An austere meditation on the relationship between art and mortality, it benefits immensely from Edward Gardner's lean conducting and the sparse intensity of Maxim Rysanov's playing. Rysanov also plays the effusive yet melancholy Two Portraits, composed when Britten was only 16, while Connolly is notably haunting in Colin Matthews's orchestration of the 1947 song cycle A Charm of Lullabies. Another early work, the Sinfonietta rounds off the disc. Gardner and the BBC Symphony Orchestra are particularly good in the second movement, in which English pastoral collides with the Second Viennese School and Britten's distinct voice begins to emerge, unmistakably. **** --The Guardian,09/06/11
This disc,part of a series that clearly deserves the most serious attention from Britten collectors,is very strongly recommended. --IRR,May'11
Maxim Rysanov compels in introspective conversation with the excellent BBC Symphony strings in Lachrymae and is also behind the very fine self portrait of the teenage composer in Two Portraits. Performance ***** Recording **** --BBC Music Magazine,July'11
Britten's extraordinary ability to sound engagingly fresh and contemporary without resorting to gimmicks or 'isms' comes bubbling to the surfce in these fine performances. **** --Classic fm Magazine,July'11
Most people will, I suspect, be drawn to this disc by the thought of Sarah Connolly singing Phaedra, the cantata that Britten wrote in 1975 for Janet Baker, with whom Connolly has often been compared. And she is indeed very fine in it, albeit more self-dramatising than Baker and therefore less sympathetic. The real stunner, however, is Lachrymae, Britten's Reflections on a Song of Dowland, originally written for viola and piano in 1950, though given here in the orchestral version Britten completed shortly before his death in 1976. An austere meditation on the relationship between art and mortality, it benefits immensely from Edward Gardner's lean conducting and the sparse intensity of Maxim Rysanov's playing. Rysanov also plays the effusive yet melancholy Two Portraits, composed when Britten was only 16, while Connolly is notably haunting in Colin Matthews's orchestration of the 1947 song cycle A Charm of Lullabies. Another early work, the Sinfonietta rounds off the disc. Gardner and the BBC Symphony Orchestra are particularly good in the second movement, in which English pastoral collides with the Second Viennese School and Britten's distinct voice begins to emerge, unmistakably. **** --The Guardian,09/06/11
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