tag:blogger.com,1999:blog-11336161.post212518294224270398..comments2024-03-06T15:42:42.589+00:00Comments on Planet Hugill: Kings Consort and Carolyn Sampson in Britten's Les IlluminationsAnonymoushttp://www.blogger.com/profile/05139360579883837086noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-11336161.post-80298770176040151762014-06-22T08:51:13.197+01:002014-06-22T08:51:13.197+01:00Glad to hear you enjoyed it as much as I did, and ...Glad to hear you enjoyed it as much as I did, and pleased that Sampson' English diction was OK for you. I must say that I do hope we might get to hear the works on disc, I would love to be able to listen again.Anonymoushttps://www.blogger.com/profile/05139360579883837086noreply@blogger.comtag:blogger.com,1999:blog-11336161.post-76818841356490510832014-06-21T22:48:49.878+01:002014-06-21T22:48:49.878+01:00Dear Mr Hugill,
Spot-on! This was a wonderful acco...Dear Mr Hugill,<br />Spot-on! This was a wonderful account of the two song cycles, and the timbre of Carolyn Sampson and of the King's Consort were ideal. I love both works, and I had been brought up on the tenor norm for the Finzi. After hearing this account, I am completely convinced that the soprano is the ideal voice for Dies Natalis, and that gut strings make an important difference too, and that these artists are the ones to reveal that, despite many loved and valued tenor renderings. It was a very compelling evening altogether. Thank you for your thoughtful and thorough review (although Ms Sampson's English was just as clear to me as her excellent French, from my seat in row Q !). AJPAJPhttps://www.blogger.com/profile/01774049887557864552noreply@blogger.com