The ERP label has released numerous fine discs over
the years; the last one I happened to review being a surprising and
highly refined Bach recording by Vardo Rumessen (see
review).
With
Cantus Angelicus we move from one of the grand old figures
of Estonian music to a brand new name who has been taking the music
world by storm.
Heldur Harry Põlda (b.1996) may be young, but he can be heard
as singer in the boys choir of the Estonian National Opera and soloist
in projects such as Britten’s
The Turn of the Screw, and
Roxanna Panufnik’s
Westminster Mass. I happened to hear
his remarkable solo in Lera Auerbach’s
Russian Requiem
at the inaugural concert at the Noblessner Foundry in Tallinn, a massive
hall used for submarine manufacture. It is now the venue for performances
just as it was left behind by the Russians, full of muck and bits of
metal, but with a superb acoustic. As a member of the Netherlands Flute
Orchestra I performed there with the Nargen Festival Choir in 2011.
One of the other venues we played at was St Jacob’s Church just
up the road in the Viimsi district, the location used for this CD -
so you can imagine, I was more than happy to have a listen to this recording.
This is very much Põlda’s showcase, all but one of the
numbers arranged by Valdo Preema, giving the programme a consistent
quality. Põlda’s voice has that pure quality which British
listeners will know from Howard Blake’s ‘Walking in the
Air’, either from the sadly neglected but original Peter Auty,
or the starry but subsequent Aled Jones. Unlike the straight English
sound of the aforementioned, Põlda is not averse to using some
restrained vibrato, though this seems to heighten the perceived vulnerability
in his young voice, rather than propel him into mini-tenor territory.
What we have here is a very pleasant selection of highly popular classical
‘hits’, given lush but not overly drippy accompaniment from
a decent sounding orchestra. The recording reflects the airy acoustic
of the church nicely, the orchestral sound perhaps a little distant
but creating a lovely atmosphere. The Bach
Aria from the
Suite
No. 3 in D major BWV 1068 provides an instrumental break from the
singing. The only mildly suspect aspect of the arrangement is the almost
entirely ubiquitous inclusion of harpsichord continuo, which creates
harmonic support and sparkle to the baroque arias. It becomes a little
bizarre in numbers such as Fauré’s
Pie Jesu, though
it is thankfully abandoned for the songs from the musicals, which are
sung in Estonian. One of the highlights is actually the final song,
Caruso, which shows Põlda’s convincing ability to
emote as a singer. Song texts are not given in the booklet, though the
notes are in English as well as Estonian.
Dominy Clements
Track-Listing
Ch.W. GLUCK Amor’s aria (from Orfeo ed Euridice, Act I) [2:50]
G. CACCINI Ave Maria [4:41]
J.S. BACH - Ch. GOUNOD Ave Maria [3:58]
G. FAURÉ Pie Jesu (from Requiem) [3:17]
F. CHOPIN Sadness (Etude in E major Op 10 No 3) [3:39]
F. SCHUBERT Ave Maria [6:04]
C. FRANCK Panis Angelicus [3:48]
A-Ch. ADAM O Holy Night! [4:44]
J.S. BACH Aria (from Suite No 3 in D major BWV 1068) [4:59]
L. DENZA Funiculi funicula [2:17]
L. BART Where is Love (from Oliver!) [3:53]
F. LOEWE On the Street Where You Live (from My Fair Lady) [2:41]
L. DALLA Caruso [4:04]
