This is the recording originally released on Collins Classics in 1996–and in keeping with Naxos’ previous reissues from the former Collins catalog, the outer packaging clearly states as much. It remains a solid and satisfying rendition of Britten’s inventive and “inclusive” cantata St. Nicolas–his original version called for a mixed adult choir, two children’s choirs (a boys’ and a girls’), a boy soprano soloist, a boy trio, piano duet, organ, strings, and percussion, not to mention a congregational “choir” of random church and community members–and also offers the rarely heard Christ’s Nativity (subtitled “Christmas suite for chorus”) and the more commonly performed Psalm 150. The cantata is classic Britten, with plenty of rhythmic excitement and energy, catchy yet original melodies, and the kind of involving, perfectly written passages that singers–and audiences–just love. The drawback here for some listeners will be the comparatively small-scale feel to much of the performance, which uses only one choir and is further diminished by the rather confined sound, beginning with the opening violin solo and continuing through sections where the orchestra should have more impact and presence but falls a little short. The Hyperion recording from eight years earlier, with the Corydon Singers–interestingly with the same orchestra and recorded in the same venue–achieves somewhat greater dynamism even if the balances are often tilted a little too generously in favor of the instruments.
The Naxos/Collins production features the excellent Philip Langridge at his most Peter Pears-like as Nicolas–the Hyperion version boasts Anthony Rolfe Johnson in his own delightfully Pearsian interpretive form. If you want to hear the real thing, just go for the Decca recording from 1955, with Britten at the helm and Pears as tenor soloist. Although the sound is a bit oddly balanced at times, it’s a performance well worth owning, for it captures the sense of occasion (not to mention Britten’s own interpretation) like none of the other recordings. Christ’s Nativity, with the fine BBC Singers, here receives exemplary treatment (the Holst Singers on Hyperion is an equally superb alternative) and likewise the Psalm 150, with the enthusiastic sounds of the New London Children’s Choir and London Schools Symphony Orchestra, is one of the best.
