Where'er You Walk: Arias For Handel's Favourite Tenor
View record and artist detailsRecord and Artist Details
Composer or Director: George Frideric Handel, William Boyce, John Christopher Smith, Thomas (Augustine) Arne
Genre:
Vocal
Label: Signum Classics
Magazine Review Date: 07/2016
Media Format: CD or Download
Media Runtime: 69
Mastering:
DDD
Catalogue Number: SIGCD457
Tracks:
Composition | Artist Credit |
---|---|
Esther, Movement: ~ |
George Frideric Handel, Composer
Allan Clayton, Tenor Classical Opera Company George Frideric Handel, Composer Ian Page, Conductor Orchestra of Classical Opera |
(Il) Pastor fido, Movement: Sol nel mezzo risona del core |
George Frideric Handel, Composer
Allan Clayton, Tenor Classical Opera Company George Frideric Handel, Composer Ian Page, Conductor Orchestra of Classical Opera |
Ariodante, Movement: ~ |
George Frideric Handel, Composer
Allan Clayton, Tenor Classical Opera Company George Frideric Handel, Composer Ian Page, Conductor Orchestra of Classical Opera |
Alcina, Movement: ~ |
George Frideric Handel, Composer
Allan Clayton, Tenor Classical Opera Company George Frideric Handel, Composer Ian Page, Conductor Orchestra of Classical Opera |
Alexander's Feast, Movement: Happy pair! |
George Frideric Handel, Composer
Allan Clayton, Tenor Classical Opera Company George Frideric Handel, Composer Ian Page, Conductor Orchestra of Classical Opera |
Berenice, Movement: Vedi l'ape che ingegnosa |
George Frideric Handel, Composer
Allan Clayton, Tenor Classical Opera Company George Frideric Handel, Composer Ian Page, Conductor Orchestra of Classical Opera |
(L')Allegro, il penseroso ed il moderato, Movement: As steals the morn |
George Frideric Handel, Composer
Allan Clayton, Tenor Classical Opera Company George Frideric Handel, Composer Ian Page, Conductor Mary Bevan, Soprano Orchestra of Classical Opera |
Solomon, Movement: Softly rise, O southern breeze! |
William Boyce, Composer
Allan Clayton, Tenor Classical Opera Company Ian Page, Conductor Orchestra of Classical Opera William Boyce, Composer |
Samson, Movement: Let but that spirit |
George Frideric Handel, Composer
Allan Clayton, Tenor Classical Opera Company George Frideric Handel, Composer Ian Page, Conductor Orchestra of Classical Opera |
Samson, Movement: Thus when the sun from's wat'ry bed |
George Frideric Handel, Composer
Allan Clayton, Tenor Classical Opera Company George Frideric Handel, Composer Ian Page, Conductor Orchestra of Classical Opera |
Judas Maccabaeus, Movement: 'Tis well, my friends |
George Frideric Handel, Composer
Allan Clayton, Tenor Classical Opera Company George Frideric Handel, Composer Ian Page, Conductor Orchestra of Classical Opera |
Judas Maccabaeus, Movement: Call forth thy pow'rs |
George Frideric Handel, Composer
Allan Clayton, Tenor Classical Opera Company George Frideric Handel, Composer Ian Page, Conductor Orchestra of Classical Opera |
Jephtha, Movement: Waft her, angels, through the skies (Jephtha) |
George Frideric Handel, Composer
Allan Clayton, Tenor Classical Opera Company George Frideric Handel, Composer Ian Page, Conductor Orchestra of Classical Opera |
(The) Fairies, Movement: Hark how the hounds and horn |
John Christopher Smith, Composer
Allan Clayton, Tenor Classical Opera Company Ian Page, Conductor John Christopher Smith, Composer Orchestra of Classical Opera |
Artaxerxes, Movement: ~ |
Thomas (Augustine) Arne, Composer
Allan Clayton, Tenor Classical Opera Company Ian Page, Conductor Orchestra of Classical Opera Thomas (Augustine) Arne, Composer |
Semele, Movement: ~ |
George Frideric Handel, Composer
Allan Clayton, Tenor Classical Opera Company George Frideric Handel, Composer Ian Page, Conductor Orchestra of Classical Opera |
Author: Alexandra Coghlan
It’s a lovely programme – testimony to the flexibility of Beard’s technique – taking in everything from the delicate, crooned lyricism of ‘Waft her, angels’ from Jephtha and Esther’s ‘Tune your harps’ to the heartier ‘Sol nel mezzo risona del core’ (Il pastor fido) and ‘Call forth thy pow’rs’ from Judas Maccabaeus. The unifying figure of Beard yields more varied repertoire than either Mark Padmore’s ‘As steals the morn…’ (Harmonia Mundi, 5/07) or Christoph Genz’s ‘Un momento di contento’ (Coviello, 2008), with arias from Berenice, Smith’s The Fairies and Arne’s Artaxerxes as well as favourites from Ariodante, Judas Maccabaeus and Semele.
Vocally, though, it’s a closer-run thing. Clayton’s tenor has been getting steadily stronger and more muscular over the past few years, and there’s more evidence of that here. The declamatory recitatives (‘Let but that spirit’) and arias (‘Hark how the hounds and horn’, ‘Call forth thy pow’rs’) ring bright and burnished, thrillingly dramatised. But when it comes to the lyrical, high-floated repertoire Clayton has to work much harder than the lighter Padmore, and for all the sensitivity of phrasing and admirable vocal control he still can’t match the fragile beauty of the latter’s ‘Waft her, angels’. The leaping athleticism of ‘Sol nel mezzo risona del core’ also finds Clayton carefully lyrical rather than comfortably released.
Ultimately it’s a matter of taste: do you prefer the exquisite studio precision of Padmore or the more lived, stage-charged interpretations of Clayton? When the latter comes with the added bonus of a cameo from soprano Mary Bevan (‘As steals the morn’) and the skilled support of Ian Page and The Orchestra of Classical Opera it’s a very attractive package.
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