Buriedtreasure
Catherine Bott (soprano), David Roblou (harpsichord) Decca 476 2099
I listened to a lot of recordings when I was learning this song at college, and this one has always stuck out. Singers worry quite a lot about sounding perfect, and I really love how Catherine Bott throws caution to the wind – early music doesn’t need to be sung in a precious way. She doesn’t hold back from making unusual sounds and sometimes slips into the chest voice to demonstrate the hysterical nature of the song.
Paul Franke (tenor) et al; Metropolitan Opera Orchestra/igor Stravinsky Naxos 8.111266-67
I went through a phase of being completely in love with the tenor aria from this opera; I just couldn’t stop listening to it and so I trawled through to find different recordings and came across this one of Stravinsky himself conducting. I thought it was amazing that it exists; I just find it fascinating to listen to, knowing that every single tempo and every voice was chosen by him. This opera is definitely in my top three; it’s so rich and the words are incredible as well.
Stravinsky The Rake’s Progress Victoria Missa Salve Regina
Ensemble Plus Ultra/michael Noone Archiv Produktion 477 9747
Victoria is one of the greats when it comes to polyphony – so many lovely clashes and suspensions, and it doesn’t get old. I always go to this mass if I need comforting or uplifting, and this performance is really lovely. Ensemble Plus Ultra are a small group with a really beautiful blend of voices, and they make you feel transported to another time.
Mary Bevan appears on Heartfelt (Signum Classics) and The Harmonious Echo (Chandos), both reviewed in this issue