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Opera 3 June 2023
Mozart Mitridate, re di Ponto, dir. Tim Albery. The English Concert, conducted by Clemens Schuldt. Robert Murray, Elizabeth Watts, Louise Kemény, Iestyn Davies, Soraya Mafi, John Graham-Hall, Joshua Owen Mills Garsington Opera.
Huddersfield Choral Society: Bach John Passion online choral workshop 27 March 2021
“Choir goes global singers from Bolivia to Taiwan join Huddersfield for Easter. 500 singers from 23 countries from around the world join to sing via zoom” https://www.huddersfieldchoral.com/our-media/post/choir-goes-global-singers-from-bolivia-to-taiwan-join-huddersfield-for-easter/
Workshop led by Greg Batsleer, Iestyn Davies and Mark Seow.
The Bee Gees did it. So do Smokey Robinson, Prince and Justin Vernon of Bon Iver. They all sing in the high register usually associated with female singers.
Men have cultivated their upper range in falsetto for centuries. They're called countertenors - at least in the classical world - and today we find ourselves in a golden age of such singers, thanks in part to continued interest in early music.
One of the best of today's crop of countertenors is Iestyn Davies (pronounced YES-tin DAY-vis). Lately, he's been exploring the meticulously crafted, melancholy songs of Elizabethan composer John Dowland. Joining Davies is lutenist Thomas Dunford, who has been affectionately dubbed "the Eric Clapton of the lute" by the BBC.
Dowland was a master of melancholy, a condition viewed differently in Elizabethan England than it is today. You might say that, back then, it was almost hip to have the blues, and Dowland instinctively knew how to tap into feelings of rejection, regret and general malaise in his music. (Dowland himself seemed to nurse a lifelong disappointment in never landing a job with Queen Elizabeth.)
Yet not every Dowland song is a downer. The opening number, "Come again, sweet love doth now invite," finds the protagonist...
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