Countertenor Daniel Taylor has traversed similar repertoire on several earlier recordings from both Atma and Dorian, but this time he’s partnered by gambists Susie Napper and Margaret Little and lutenist Stephen Stubbs, each of whom take several solo turns in addition to their primary accompanying roles. Taylor has proven himself to be nothing if not an extremely sensitive interpreter who gives the impression that he is singing each song from some kind of personal experience. This deeply felt expressive manner sometimes causes him to linger on notes too long or stretch phrases beyond the listener’s (or accompanist’s) comfort level–the opening “Ye sacred Muses” by Byrd is a good example–but he’s an intelligent and very musical vocalist who happens to have one of the loveliest, most natural-sounding countertenor voices among today’s rather remarkable group of young specialists that includes Andreas Scholl and David Daniels.
Although I prefer theorbist/lutenist Sylvain Bergeron’s more fluid, inspired artistry (Atma and Dorian), Stubbs is a tasteful and technically flawless accompanist (notably so in Dowland’s “Shall I strive with words to move?”), and the two gamba players, who also provided most of the instrumental arrangements, are just about ideal in their warm, stylish support. Taylor really shows his easy command of form and technique in songs such as the above-mentioned “Shall I strive”, Byrd’s “Come to me grief for ever”, and in the unusually spirited “Say, Love, if ever thou didst find” by Dowland. In all, this is a well-made, expertly performed, easy-on-the-ears program that makes an excellent introduction to Taylor’s art and voice–and a perfect antidote for all you listeners out there with countertenor-phobia. The sound, made in a Quebec church, is properly intimate but spacious enough to give full, natural bloom to the voice and instruments.
