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John Ireland's status as one of England's finest song composers has not yet
been fully appreciated but this sumptuously presented two-disc set will serve
to remedy that reputation somewhat. Another Hyperion rescue act?, maybe but
this time it is the younger singers who are the coastguards. The beautiful
Lisa Milne is one of Scotland's most exciting singers ever to come from that
romantic Northern country whilst the artistry of John Mark Ainsley and
Christopher Maltman is fast rising to stardom proportions. Most of the songs
are taken by the latter male artists but Milne's gossamer-like contributions
are an utter joy to listen to. 'The Adoration' in particular has her
in a beguilingly enthusiastic mood, at turns joyous, sometimes sad. 'When
I am dead, my dearest' is also passionately sung, and the music is
outstandingly crafted although the song is short. Christopher Maltman is
an ideal exponent in such repertoire as 'Santa Chiara' with its thrilling
declamations demonstrates. I greatly enjoyed his interpretation of the Thomas
Hardy Songs'; here the music fairly leaps from the pages especially in the
thoughtfully reflective 'In my sage moments'. The voice is rounded,
secure and in its full prime, as demonstrated in 'Summer Schemes'
from Thomas Hardy. Indeed, as one leafs and listens through the seventy-odd
songs, it is apparent that Ireland's literary interests were eclectic and
wonderfully varied with Blake, Rosetti, Hardy, Yeats and a host of famous
English literary figures making regular appearances as texts. Arguably, Ireland's
greatest contribution to song, Songs Sacred and Profane is sung with
aplomb and assured certainty by John Mark Ainsley, another exciting singer
who demonstrates his fine ability in this repertoire. The savagery of 'The
Scapegoat' is a particular joy with Ainsley sounding as cynical as humanely
possible. Returning to Lisa Milne, I was greatly moved by her emotional portrayal
of the 'Mother and Child' cycle, surely this is one of the most beautiful
Ireland contributions to the genre. I could go on and on, praising this and
that song but I guess you may have got the picture by now. However, I have
left the best till last, and that is Graham Johnson's accompaniments and
playing. Here is one of our finest scholars in the world of song committing
himself to these miniature treasures with the utmost dedication. He is
everywhere, cajoling, coaxing, encouraging, supporting, a complete accompanist
if there ever was one. The amount of knowledge that he imparts to his youthful
singers is immense, not least in the quieter moments of these wonderful songs
where concentration is all-important. Indeed in the final cycle, 'We'll
to the Woods no More'; the depth of Johnson's poignancy brings tears
to the eyes, a deeply nostalgic portrayal of days gone by. Andrew Green's
astonishingly detailed biographical notes on composer and song alike are
up to the usual Hyperion standards whilst the recorded balance is perfectly
intimate, the singers could almost be in your room. Song lovers should snap
up this timeless issue as soon as possible and it will serve as a constant
companion until their last days.
Reviewer
Gerald Fenech
Performance:
Sound:
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Reviewer
Gerald Fenech
Performance:
Sound:
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Lisa
Milne, John Mark Ainsley, Christopher Maltman. Graham Johnson: Piano
