These three short sacred works, scored for alto, strings
and continuo, are very small-scale, intimate works whose magnificent
melodies are only accentuated by the austerity of their scoring. One
could certainly perform this with larger forces, many more instruments,
but the naked pathos of the Stabat Mater would be lost.
David Daniels has a dark voice, much richer in sound
than many countertenors, whose voices can sound wispy at times. Daniels
exudes strength and energy, he sings with force when necessary, but
can also use a light touch. Not only is his voice intensely attractive,
but his singing is so natural that one can only listen in pleasure to
him, whatever he sings. He uses a bit too much vibrato for my taste
at times - the Eja Mater, in the Stabat Mater, where he sings with just
a minimal accompaniment is an example of this. The vibrato stands out
all the more because of the accompaniment of just a single violin.
But there is something about the balance of the sound
that shocks at times. While Europa Galante again shows its capacity
to remain in the background and be, perhaps, the ideal small ensemble
for accompanying singers - as it has shown in the past, especially with
Cecilia Bartoli - it occasionally sounds too present. The organ, especially,
tends to creep forward in the mix at times, giving a strange resonance
when combined with Daniel’s voice. But the string sound is so rich and
beautiful that one can easily forget these occasional glitches. Part
of this could result from the ensemble’s need to match the force in
Daniels’ voice; a lighter-voiced countertenor would be drowned out by
such playing.
Nevertheless, this is one of those rare discs that
carries you along from beginning to end as if on a subtle wave. The
music flows so perfectly and is so full of emotion that it can give
a shiver along the spine. This is, indeed, a magnificent and unforgettable
recording.
Kirk McElhearn
David Daniels countertenor