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Signum4
In a world of mounting uncertainty, it’s a relief to find the King’s Singers are still around. The novelty of their act might have worn off since that inaugural London concert in 1968 but polished a capella singing by six male voices remains a miraculous thing and their latest album is a joy to spin.
The title is Shakespeare – The Tempest Act 4 (but you knew that, surely) – and the underlying theme is the hope we cling to in times of mortal terror. Three Vaughan Williams songs from 1951 capture that dichotomy to the depths of its poignancy.
The album’s lead track is the loveliest thing I’ve ever heard from the organ-pounding Max Reger. A set of Debussy songs flutter by like a Paris sommelier past a teetotal table. Three Ravel chansons and a frolic by Saint-Saens are crème patissiere on a tarte tatin. The diction in three languages is spot-on.
The best comes in the later tracks – meditations by the brother and sister Mendelssohn, a triptych of ditties by the Swede Hugo Alfven and the English hymn to the Finlandia tune that I last heard at Jimmy Carter’s funeral. This is a beautifully balanced programme without so much as a momentary lapse. Thank heavens for the King’s.
Did I say six male voices? They sneaked two female sopranos into the Vaughan Williams set, which is written for eight voices. I wouldn’t have known if the notes hadn’t mentioned it, so sweet is the fit.
This page is also available in / Cette page est également disponible en:
Français (French)
