Iestyn Davies, Carolyn Sampson & Joseph Middleton - Lost Is My Quiet (2017) [Hi-Res]

Tracklist
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01. Sound the Trumpet, Beat the Drum, Z. 335 (Arr. B. Britten)
02. Lost Is My Quiet Forever, Z. 502 (Arr. B. Britten)
03. If Music Be the Food of Love, Z. 379 (Arr. B. Britten)
04. Oedipus, Z. 583: No. 2, Music for a While (Arr. B. Britten)
05. The Maid's Last Prayer, Z. 601: No. 2, No, Resistance Is but Vain (Arr. B. Britten)
06. Oroonoko, Z. 584: No. 1, Celemene, Pray Tell Me (Arr. B. Britten)
07. 6 Zweistimmige Lieder, Op. 63: No. 1, Ich wollt' meine Lieb' ergösse sich, MWV J 5
08. 6 Zweistimmige Lieder, Op. 63: No. 3, Gruß, MWV J 8
09. 6 Zweistimmige Lieder, Op. 63: No. 5, Volkslied, MWV J 10
10. 6 Zweistimmige Lieder, Op. 63: No. 6, Maiglöckchen und die Blümelein, MWV J 7
11. 12 Lieder, Op. 9: No. 6, Scheidend, MWV K 50
12. 6 Gesänge, Op. 19a: No. 4, Neue Liebe, MWV K 70
13. 3 Lieder, Op. 77: No. 1, Sonntagsmorgen, MWV J 4
14. 3 Lieder, Op. 77: No. 2, Das Ährenfeld, MWV J 12
15. 3 Lieder, Op. 77: No. 3, Lied aus Ruy Blas, MWV J 6
16. 3 Zweistimmige Lieder, Op. 43: No. 1, Wenn ich ein Vöglein wär
17. 3 Zweistimmige Lieder, Op. 43: No. 2, Herbstlied
18. 3 Zweistimmige Lieder, Op. 43: No. 3, Schön Blümelein
19. Lieder und Gesänge, Book 4, Op. 96: No. 1, Nachtlied
20. 12 Gedichte, Op. 35: No. 8, Stille Liebe
21. 3 Gesänge, Op. 83: No. 3, Der Einsiedler
22. Lieder und Gesänge, Book 3, Op. 77: No. 5, Aufträge
23. 12 Gedichte aus "Liebesfrühling", Op. 37: No. 12, So wahr die Sonne scheinet
24. 5 Shakespeare Songs, Op. 23: No. 3, It Was a Lover and His Lass
25. 7 Elizabethan Lyrics, Op. 12: No. 1, Weep You No More (Arr. for 2 Voices)
26. 6 Songs, Op. 25: No. 5, Music, When Soft Voices Die
27. Drink to Me Only with Thine Eyes
28. 3 Songs, Op. 3: No. 1, Love's Philosophy
29. Love Calls Through the Summer Night


Iestyn Davies is known for the suppleness, power, and natural sound of his countertenor voice, whether in early opera, Baroque sacred music, or in contemporary works. Davies was active in the early 1990s as a boy soprano, but didn't draw wide notice as a countertenor until the early years of the new century. He advanced quickly with a multi-pronged approach, appearing in operas by Handel, Purcell, and Monteverdi; in concerts and recitals featuring music by Frescobaldi, Porpora, Handel, and Vivaldi; and in 20th century and contemporary fare by Britten, Tavener, Finnissy, and others. Davies has regularly toured the U.K., Europe, and the U.S. and has appeared at many of the leading concert and operatic venues, including La Scala, Teatro Real in Madrid, Amsterdam's Concertgebouw, Lincoln Center, London's Royal Festival Hall, and many more. He has recorded for Naxos, Decca, Chandos, and other leading labels.

Iestyn Davies was born in York, U.K., in 1979. His father Ioan, longtime cellist in the Fitzwilliam Quartet, mentored him early on. Young Iestyn first studied piano and recorder, and from age eight sang in Cambridge's St. John's College Choir.

At 13 Davies appeared as Cupid on the Richard Hickox-led Chandos recording of Purcell's Timon of Athens. After briefly singing tenor and bass, Davies was, at 16, singing countertenor at Wells Cathedral School. Still, he would go on to earn degrees in archaeology and anthropology at St. John's College, Cambridge, before taking advanced studies in voice at London's Royal Academy of Music.

Davies appeared on the 2002 Naxos recording of Walton's Magnificat, led by Christopher Robinson. Gradually he built his career and by fall 2004 was making headway abroad: he appeared in Purcell's King Arthur at the Festival d'Ile de France and in Handel's Messiah at Rome's Lateran Basilica.

In 2006 Davies' recording of Messiah on Naxos drew high praise and that same year he also earned critical acclaim for his performance in the work at both the Concertgebouw and Madrid's Teatro Principal. In 2009 Davies had successful tours of Spain, the Netherlands, Denmark, and the U.S., and the following year was given the Royal Philharmonic Society's Young Artist award. He also debuted in 2010 at the New York City Opera as Arsace in Handel's Partenope and made appearances in Bordeaux, France (Hamor in Handel's Jephtha), Vienna (title roles in Handel's Tolomeo and Ottone), and sang at other prestigious venues in Luxembourg, Paris, and Milan.

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