‘brilliantly incisive and excellently balanced. In particular, the great first movement sounds much more radical than usual, simply because the players pay scrupulous attention to Britten's expression marks and relish the remarkable contrasts of tempo and texture.’Gramophone, reviewing the 1st quartet , May 1991
This DVD of the recently issued Britten/Pears mini series recorded by the BBC for television way back in the 1960's and the 70's is for all intents and purposes another resounding success. All four priceless documents were thought lost, but this Idomeneo seems to have had a charmed life more than others. Indeed, three days before the Aldeburgh première, the hall was left in cinders and it is something of a miracle that the television production could actually go ahead. First broadcast in May 1970, critics and viewers alike were unanimous in their praise. Sung in English to a version prepared by Maisie and Evelyn Radford, Mozart's first operatic masterpiece is even more telling. A lot of credit should go to Britten himself, who not only conducted with committed ardour, but also prepared a musical edition all of his own. The staging has a classical dignity and avoids austerity altogether and both Pears and Harper give impressive performances. (Gerald Fenech)
Soon after his return from America, at the height of the war in 1943, Britten wrote incidental music for a radio play by Edward Sackville-West on the Homeric subject of Odysseus’s return to Penelope. Drawn from the complete score with barely any amendment of the original, and compressed into a 36-minute cantata, with Chris de Souza tailoring the text and Colin Matthews, Britten’s last amanuensis, most tactfully editing the music, the result is extraordinarily powerful. The most important role is that of the narrator, here masterfully taken by Dame Janet Baker who brings the story vividly to life despite the stylized classical language (e.g. “Odysseus, Lord of sea-girt Ithaca” or “His fair wife, white-armed Penelope”). Rather confusingly Athene also appears as a soprano, with the radiant Alison Hagley sounding totally unlike Dame Janet. She is one of a godly quartet of singers who contribute Greek-style commentaries – vocal passages which regularly add to the atmospheric beauty of the piece.
Cambridge University Chamber Choir performs three twentieth-century English song cycles for mixed choir, including the rarely-recorded A Garland for the Queen. A Garland was composed to commemorate the Queen’s coronation in 1953 by a selection of the finest English composers including Finzi, Bliss, Bax, Tippett, Vaughan Williams, Howells and Ireland. The two works by Benjamin Britten, AMDG and Sacred and Profane, are virtuoso show pieces for mixed choir.
"…Hickox's set has achieved the status of a classic for Britten recordings." ~sa-cd.net