Any tenor who sings Britten is inevitably going to invoke a comparison with Peter Pears, for whom this music was written. While Pears' musicality was impeccable and his interpretations incisive, his timbre could be thin and reedy. Daniel Norman stands up well in comparison; his voice is notable for its unmannered freshness and naturalness. It's bright and clear, and while it's a medium-sized instrument, he's capable of deploying it with full-throated strength as well as in the quietest near-whisper. His exceptionally pure ...
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Any tenor who sings Britten is inevitably going to invoke a comparison with Peter Pears, for whom this music was written. While Pears' musicality was impeccable and his interpretations incisive, his timbre could be thin and reedy. Daniel Norman stands up well in comparison; his voice is notable for its unmannered freshness and naturalness. It's bright and clear, and while it's a medium-sized instrument, he's capable of deploying it with full-throated strength as well as in the quietest near-whisper. His exceptionally pure and focused vowels and his beautifully calibrated vibrato are special pleasures. Only at the very lowest notes of some of the songs does his voice lose some substance. Norman's interpretation of these three cycles and miscellaneous songs is understated but fully expressive. Pianist Christopher Gould provides a sensitive and nuanced accompaniment. He and Norman have been collaborating since 1996, so it's not surprising that they are so well coordinated in their phrasing and...
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