Shakespeare Songs (3) for voice & piano (or orchestra), Op. 6: Come away, death (from Twelfth Night, Act 2, Scene 4)
Shakespeare Songs (3) for voice & piano (or orchestra), Op. 6: O mistress mine (from Twelfth Night, Act 2, Scene 3)
Shakespeare Songs (3) for voice & piano (or orchestra), Op. 6: Blow, blow, thou winter wind (from As You Like It, Act 2, Scene 7)
The 'Elizas', Elizabethan Songs (5) for voice & piano: Sleep
Salt-Water Ballads (3), for voice & piano: I. Port of Many Ships
Salt-Water Ballads (3), for voice & piano: II. Trade Winds
Salt-Water Ballads (3), for voice & piano: III. Mother Carey
The Cloths of Heaven, for voice & piano
The House of Life, song cycle for voice & piano: No. 2. Silent Noon
Linden Lea, song for voice & orchestra ('In Linden Lea'; 'A Dorset Song')
Now Sleeps the Crimson Petal for voice & piano, Op. 3/2
Elizabethan Lyrics (7) for voice & piano, Op. 12: Weep you no more
Elizabethan Lyrics (7) for voice & piano, Op. 12: Go, lovely rose
The Shropshire Lad, song cycle: I. Loveliest of trees the cherry now
The Shropshire Lad, song cycle: II. When I was one-and-twenty
The Shropshire Lad, song cycle: III. There pass the careless people
The Shropshire Lad, song cycle: IV. In summer-time on Bredon
The Shropshire Lad, song cycle: V. The street sounds to the soldiers' tread
The Shropshire Lad, song cycle: VI. On the idle hill of summer
The Shropshire Lad, song cycle: VII. White in the moon the long road lies
The Shropshire Lad, song cycle: VIII. Think no more, lad; laugh, be jolly
The Shropshire Lad, song cycle: IX. Into my heart an air that kills
The Shropshire Lad, song cycle: X. The lads in their hundreds
Money, O!, for voice & piano
The Lord's Prayer, for voice & piano
Folksong Arrangements, Vol. I 'British Isles', for voice & piano: The Salley Gardens
Folksong Arrangements, Vol. I 'British Isles', for voice & piano: Oliver Cromwell
Folksong Arrangements, Vol. III 'British Isles', for voice & piano: The Foggy, Foggy Dew
Captain Stratton's Fancy, for voice & piano
Love is a bable, song
Cloths of Heaven for voice & piano, Op. 30/3
The Aquiline Snub, for voice & piano, Op. 375
The Compleat Virtuoso, for voice & piano, Op. 366
Silent Noon is Bryn's Long-awaited Return to this Repertoire - with Songs Representing the Heyday of English Song in the Early 20th Century. · the Beauty and Colourfulness of this Music Which, at Some Points Almost Sounds ... more »Like Tunes from Musicals, have Everything to Appeal to Bryn's Fans. And this is all Thanks to that Gorgeous Voice and Character - These Songs Demand Great Communicative Power with a Wide Range from Humour to Sweet Elegy, and He is the Ideal Artist to Bring them to Life.« less
Silent Noon is Bryn's Long-awaited Return to this Repertoire - with Songs Representing the Heyday of English Song in the Early 20th Century. · the Beauty and Colourfulness of this Music Which, at Some Points Almost Sounds Like Tunes from Musicals, have Everything to Appeal to Bryn's Fans. And this is all Thanks to that Gorgeous Voice and Character - These Songs Demand Great Communicative Power with a Wide Range from Humour to Sweet Elegy, and He is the Ideal Artist to Bring them to Life.
"Those familiar with Bryn Terfel could hardly argue that his physical and vocal presence is generally enormous! If we can travel back fifteen years to his early days at the Welsh National Opera, we would hear this enormous presence combined with delicate subtleness in the great character bass-baritone roles of Mozart such as Figaro, Masetto, and Leporello. An enormous open-throated voice combined with sensitive heart-felt interpretations have made Bryn Terfel the most celebrated and commanding baritone voice of his generation. Only in his early forties, Bryn Terfel has made legendary recordings of Don Giovanni, Le Nozze di Figaro, Falstaff, Elijah, and the Brahms Requiem.
However, Opera megastars such as Bryn Terfel do not always portray art song well. This may be due to the intimate settings of art song, particularly English art song, and the mammoth instruments that try to interpret them.
Let us speak of the Victorian English Art songs found on this CD. Many of these songs were written for the amateur singer to be performed at his/her home. Typically, accompaniments in this style are light and often lack inner voice movements. Many times they are chordal, and vocal lines often float on the fifth of a chord. These characteristics yield to very colorful, lyrical, and sensitive singing. The title track, Vaughan William's Silent Noon, ought to be one of the highlights of the disk. Instead, Bryn's voice is rather thin in color (maybe trying to blend with the light accompaniment) and we loose the intensity of the singing voice and the beauty of the vocal line. Generally lighter voices do not overpower accompaniments while maintaining the intensity in their singing. Very often they bring a more appropriate dynamic range to this subtle genre. Take a listen to Stephen Varcoe or Stephan Roberts; you'll see what I mean. On Terfel's latest album Silent Noon, the accompanist Malcolm Martineau plays wonderfully while trying to compliment the robust nature of Bryn's singing. Notable favorites on this disk include Roger Quilter Elizabethan songs and Arthur Somervell's rarely heard version of A Shropshire Lad. It is worth a spot on your collection but it should not be remembered as Bryn's greatest recording. "
Bryn's best album
Ashley D. Foot | Montreal, Canada | 04/14/2005
(5 out of 5 stars)
"This album is a treasure. It will find a place in my collection forever. Gorgeous singing, gorgeous playing. Rarely will u hear such expressive singing. This album is flawless. Being English, Terfel infuses the texts with a moving, colourful immediacy that so many other singers lack in this repertoire. While many singers simply recite the songs as if the have sung them a million times. Bryn Terfel brings a new meaning to many of these oft sung ditties. The Roger Quilter songs I particularily treasure (Come Away Death, Weep You No More) and the A.E. Housman Shorpshire Lad is also very well sung..
Perfect recital disc."
J. L. Pike | Rochester, NY | 05/13/2005
(5 out of 5 stars)
"For those of you who are true singers this is a must have! Terfel's interpretation of the music and text is among the best I have ever found. Contrary to what previous reviewers have said, Terfel voice has not thinned; on the contrary he has gotten stronger with age. What others do not realize is that different music automatically brings with it a different set of tone colors. The thing I find most appealing about this album is that Terfel has finally found that he doesn't need to be so plosive with his consonants. Because he has let that fade the music has become considerably more lyrical than it already was.
Again, this is a must have for any serious singer/music lover!"
Bryn terfel's silent noon
Jeffrey Teich | Evanston IL | 06/15/2005
(5 out of 5 stars)
"Bryn Terfel stands alone as the outstanding male vocalist in the classical and perhaps any medium. Sadly, his last release strayed into that hideous hybrid 'crossover' territory so often travelled by classical ` artists as their recording companies recoil from the corpus of serious music and force them into more and more marginal arenas. Terfel had gone so far as to allow himself to perform a duet with Andrea Boccelli, a singer of deplorable ambition and minescule talent.
Both fans of Terfel and good music will be delighted in Silent Noon in which the baritone-bass has restricted his singing to English songs. He revisits Benjamin Britten and many others in what must be the most refreshing presentation of this opus since Terfel's rendition of Songs of Travel, a brilliant recording. Unhappily, none of the selections in this album match such timeless pieces as those, but the listener has the pleasure of 33 selections, not the 18 available in the Amazon capsule. Terfel sings in his characteristically robust style, yet he has gained an additional subtlety in his presentation and sings with even more confidence than in the past. His work shows a glorious maturatuion which those of us who are lieder afficionadi may feel surpasses the best work of Fischer- Dieskau. Terfel handles the upper range well if not entirely adroitly but occasionally disappoints at the very bottom of the lower. Still, his powerfully rich voice superbly translates these songs and brilliantly colors them making for a gem of an experience."
An unexpectedly serious, intense sequel to "The Vagabond"
Santa Fe Listener | Santa Fe, NM USA | 10/19/2008
(5 out of 5 stars)
"Terfel created a sensation with his first recital of English songs, "The Vagabond," sending a shock wave through staid British musical circles -- here was a charismatic singer who intended to apply as much artistry and intensity to Vaughan Williams, Butterworth, and Finzi as Fischer-Dieskau ever did to German lieder. This follow-up album finds Terfel in just as serious, impassioned a mood. But he looks beyond popular choices (most of which appeared on the previous album), and the mood is often sorrowful, inward, and ambiguous.
A recital that explores many shades of gray isn't likely to win universal praise, and "Silent Noon" has its disappointed critics. This is English song in the vein of Hugo Wolf, a parallel all the more telling because Terfel realizes that an art song can be more about the words than the tune. But where Wolf was a great composer setting obscure poems, here we have quite a few obscure composers setting great poetry by Shakespeare, Rosetti, Yeats, and A. E. Housman. Terfel lives up to both the literary and musical side of each song, but as in a Wolf recital, the vein of simple pleasure is rarely tapped.
In sum, a subtle, psychologically tinged recital that calls on unusually serious attention from the listener."