Iestyn Davies press clippings

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	2010
	The Saturday-morning programme, given in the Pittville Pump Room by the viol consort Fretwork and the superbly pure-voiced countertenor Iestyn Davies, encompassed not only three searingly chromatic Gesualdo songs, and two by Wolf, but melancholy effusions by Dowland, Warlock and Britten, the accompaniment for viols proving in the modern cases oddly effective. Britten’s grief-stricken, overwhelming folk-song treatment, O waly, waly, elicited Davies’s finest mastery, and was, for me, a textbook instance of those shivers down the spine. Recital, Cheltenham Festival Paul Driver, Sunday Times, 18.7.2010	182
	Dryden's Music for a While, set by Purcell, also gave the title to Iestyn Davies's morning recital with Fretwork, where the immaculate sound of Davies's countertenor did beguile all cares. His delivery seems understated, yet every syllable and emotion is carefully focused as to draw the listener into the heart of the music; melancholic anguish in the case of John Dowland, sexual in that of Carlo Gesualdo. Fretwork's performance of music for viol consort by William Lawes paled slightly in comparison with the thrilling glow of Davies's singing, but the partnership realised a creative dynamic with bass violist Richard Boothby's arrangements of 20th-century English songs by Warlock and Britten. The viols's misty aura was magic and underlined the potent resonance of early English composers for those later. The exquisite artistry of the word-painting – Davies sweet-toned, yet often darkly distinctive of timbre – made it unforgettable. Recital, Cheltenham Festival Rian Evans, The Guardian	181
	The one soloist who truly stood out was countertenor Iestyn Davies. Paradoxically, his ethereal voice was ideally suited to bringing out the reverential nature of the words in Qui sedes ad dexteram Patris, while in the latter stages of Agnus Dei it suddenly hit an even more spiritual realm. Bach B Minor Mass MusicOMH	180
	... Davies showed all the vocal and musical range Handel's pampered castratos were famous for... Judith Malafronte, Opera News , June 2010	179
	The English countertenor Iestyn Davis was a very good Hamor, Iphis' fiancé, who finally loses her to God. He confirmed the excellent impression he left in Handel’s Theodora last October at Madrid's Teatro Real. Handel's Jephta musicweb-international.com	178
	... an intense and touching beauty... English song recital, Middle Temple Hall Michael White, Catholic Herald	177
	... the experienced Iestyn Davies, who brought a penetrating sound and vocal bloom to the role of Arsace... Handel's Partenope, New York City Opera Wall Street Journal	176
	... Iestyn Davies's performance of the very difficult Furibondo spira il vento would have to be considered the opera's show stopper. Handel's Partenope, New York City Opera MusicWeb International	175
	... Iestyn Davies, the beautiful countertenor who performs the role of Arsace [...] Partenope is a wonderful launching pad for Davies' agile and elegantly expressive voice. He seems a natural. [...] Davies brings down the house with his aria at the end of Act II. [...] Senesino was reportedly a great Arsace, although his g appeared rarely and in later years he did not go above d. We may have a new Senesino, without those limitations, in Davies. Handel's Partenope, New York City Opera BerkshireFineArts.com	174
	Welsh countertenor Iestyn Davies possessed the most beautiful voice of the night, an opulent, sensuous alto that easily filled the house, calling to mind both David Daniels and Bejun Mehta in its quality, ardor, intensity of emotional focus and mastery of fioritura... Handel's Partenope, New York City Opera Opera Today	173
	PARTENOPE PODCAST AT NEW YORK CITY OPERA
	The radiant countertenor Iestyn Davies is superb as Arsace Handel's Partenope, New York City Opera New York Times	172
	Countertenor Iestyn Davies, impassioned and elegant, gave one of the best vocal performances of the season. Handel's PartenopeNew York City Opera New York Observer	171
	The singers were two brilliant young countertenors, Iestyn Davies and Anthony Roth Costanzo [...]. The two singers both took on the role of princes, and they were princes as singers. [...] It is hard to imagine that we will not hear much more of the solid and powerful voice of Mr Davies... Handel's Partenope, New York City Opera The Edge	170
	The night belonged to Iestyn Davies, who played one of the titular monarch Partenope’s suitors to perfection. Pure in tone, Davies’s countertenor packed heft and heat, making for three of the evening’s most stirring musical moments. His Ch’io parta? left nary a dry eye in the house. Handel's Partenope, New York City Opera Time Out	169
	Welsh countertenor Iestyn Davies stopped the show with Arsace's second-act closer, Furibondo, cleanly flinging out page after page of elaborate coloratura depicting emotional torment. Handel's Partenope, New York City Opera New York Post	168
	The vocal star of the night was Iestyn Davies as the conflicted Arsace. He sang with a luminous, creamy countertenor and offered a moving rendition of Ch’io parta? during the Act III scene where he begs Rosmira for forgiveness. Handel's Partenope, New York City Opera New York Times	167
	The British countertenor Iestyn Davies, who's a sensation across the pond, made a commanding Orpheus Gluck's Orfeo ed Euridice (except) The Hub Review	166
	... music evocative of a wide range of emotion, built around the story of a hero’s descent into the underworld to reclaim his wife. Countertenor Iestyn Davies... well matched the drama of the orchestra with his presentation. Gluck's Orfeo ed Euridice (except) Fenway News	165
	... an appealing, pure voice and a poised delivery... Gluck's Orfeo ed Euridice (exerpt) Boston.com	164
	2009
	By some distance, however, the stand-out soloist is counter-tenor Iestyn Davies. Some recordings, including the aforementioned ones directed by Harry Christophers and Trevor Pinnock, split the alto arias between a male and a female singer. Generally I prefer this because I feel some arias, such as He was despised suit a female voice. I can only say that Davies’s singing completely stills any such objection. He opens with a wonderful account of But who may abide, the da capo sensitively and imaginatively decorated. The central section, For he is like a refiner’s fire, is bitingly incisive and the orchestral strings attack the music with gusto - some may be taken aback by this - and with tremendous use of dynamic contrast, all of which acts as a marvellous foil to Davies’s fiery singing. I love his fluent delivery of O thou that tellest, where his excellent use of ornamentation enhances the vocal line beautifully. He reserves some of his best singing for He was despised, which he sings with dignity and fine expression. His performance is beautifully controlled, both musically and emotionally, and the da capo section is even more expressive than what has gone before. Everything Davies does in this Messiah enhances his growing reputation. John Quinn, MusicWeb International Polyphony's Messiah recording	163
	The well-rounded tone and technical precision of Iestyn Davies's singing is easy to enjoy, but it is equally significant that his ornamentation in But who may abide is masterful for its stylish vocabulary and expressive wisdom. Gramophone magazine Polyphony's Messiah recording	162
	Suzy Klein: My great performer of 2009 is the countertenor Iestyn Davies. He's just everywhere. I think he's a phenomenal talent - he's got everything. This exquisite voice - he can just stand there and conjure up a note out of thin air. And he's a lovely actor to watch, It doesn't matter how many people are on the stage with him, he has this very quiet charisma. He's a great all-round performer, a really exciting, talented guy. James Bowman: I agree entirely. I think he's fantastic. What I admire about him is the poise. When you see him performing, there's no fidgeting, the face is calm and collected, focused. And the sound is so even. I hate him! Hah! No, I think he's wonderful and for one so young it's pretty phenomenal. BBC Radio 3, Sunday Morning, review of 2009	161
	The soloists are on top-notch form, especially Iestyn Davies and especially with the ornamentation and authority in But who may abide. Tremendously exciting. 'Refiner's fire' has never come across quite so violently or potently as it does here. David Vickers on BBC Radio 3 CD Review Polyphony's Messiah recording	160
	Iestyn Davies' natural, open-hearted countertenor is a joy to hear Philly.com Polyphony's Messiah recording	159
	... clear, powerful... impressive... the weighty sadness of Davies' He was despised. Twin Cities Messiah, Minneapolis USA	158
	Davies’s extraordinary vocal elasticity, clarity, and breath control [...] transports us to a realm where the voice is pure spirit. The effect is sublime. Daily Express Wigmore Hall solo recital	157
	Iestyn Davies... with a flutey, full-blooded counter-tenor that perfectly complemented the sweet, pristine soprano of Carolyn Sampson in the title role... The hushed concluding duet arrived with a ravishing sense of consummation. Not for the first time, a performance of Theodora seemed to make the earth move. The Guardian Handel/Theodora/Kraemer	156
	Countertenor Iestyn Davies, who played the closet Christian Didymus, gave a compelling performance with the coloratura conveyed with exuberant ease. One of the many highlights was his rendition of The Raptur’d Soul Defies the Sword. Gavin Engelbrecht, Northern Echo Handel/Theodora/Kraemer	155
	Didymus, the chaste Theodora’s friend, was the British countertenor Iestyn Davies, who was extremely convincing and sang very well. We'll have another opportunity to see him again next month in Agrippina which should be well worth a visit. musicweb-international.com Handel/Theodora/Gabrieli Consort/McCreesh	154
	Iestyn Davies was superb ... the purity of his voice, the exquisite breath control, lyricism of line... the rich tapestry of colours, the variation in tone, dynamics and emphasis, and the occasional hints of baritonal splendour (yet never coming out of the counter-tenor mode)... mpressive stage presence... [In Partenope or Samson, he becomes the character and communicates this to the audience.] A different setting called for a different behaviour; he showed that he understood the words... and also that he grasped the thoughts and sentiments that inspired them and understood how the music reflected them. Gertsamtkunstwerk Proms, London	153
	... Iestyn Davies’s quite beefy countertenor... Tis Nature’s Voice, commandingly sung by Davies, with a full array of elaborate decorations, always in the service of the words and music. Davies’s tone is not as sweet as that of Scholl, nor is his technique as yet so prodigious, but he has an astringency in the timbre which is most affecting in this music, and ideal for the interpretation of such phrases as 'To court the ear or strike the Heart', and the sensuous quality of his enunciation at the word 'charms' is most engaging. [...] most of us have only rarely heard [Sweeter than roses] sung as it was here, with the ideal blend of sensuality at 'the dear kiss' and youthful exuberance at 'What magic has victorious love!' [...] a powerfully moving performance of John Blow’s Ode on the Death of Mr Henry Purcell [...] An Evening Hymn, mellifluously sung by the countertenor to complete an hour of bliss for lovers of Purcell’s music. Melanie Eskanazi, ClassicalSource.com Proms, London	152
	Davies has a great stage manner that really suits chamber music concerts such as this. His voice is bright, forward and full of personality and he has an even quality throughout his range that really projects the low passages in Purcell's writing. What is also impressive is the range of expression that he can employ without having to sing too loudly, a quality that is particularly beneficial when working with early instruments... Davies was a really passionate communicator of the poetry and leaned into the dissonant qualities [of Sweeter than Roses] to give a moving performance. There were some beautifully crafted imitative passages between the two singers [in Blow's Ode on the Death of Mr Henry Purcell, with Simon Wall, tenor] and a really excellent solo section from Davies. Ed Breen, MusicalCriticism.com Proms, London	151
	In the select world of countertenors, there’s always one who sets the pace... on the evidence of the last 18 months, I suggest that in Iestyn Davies we have the new countertenor king-in-waiting. Davies may be built like a whippet, but, as we’ve seen with his performances at English National Opera, he has that mysterious quality of always drawing the eye (and ear) when sharing the stage with others. When he has it to himself, he’s mesmerising, so it made good sense for the final Chamber Prom to be largely devoted to him... The programme was wall-to-wall Purcell, plus the long lament on Purcell’s early death by John Blow... . First Davies sang ‘Tis Nature’s Voice... His intimate and confidential manner seemed designed to set off the music’s highly-ornamented melismas... his sound developed a compelling power, particularly in the lower register. Then came Music for a while, which might have evoked memories of Bowman, had the sound not been so utterly different. Perfectly paced, and phrased as befitting a poem which is just one single sustained thought, this was a piece of high vocal artistry, as was Sweeter than roses... There’s steel in his sound, and not a trace of the femininity you hear in Daniels’s; Davies has gravity, unaffected directness, and that rare ability to bring a note seemingly out of nowhere, and make it sing. But he still sounds boyish and vulnerable: it will be fascinating to see how he develops over the next few years. Michael Church, The Independent Proms, London	150
	... Chamber Prom, which soared up to the heights without any neurotic breast-beating... Some of the high points you could predict, like Iestyn Davies’s way of floating the tune of Evening Hymn over Reiko Ochise’s viola da gamba bass... Ivan Hewitt, Daily Telegraph Proms, London	149
	... Music for a While and Sweeter than Roses [were] sublimely handled by Davies... Davies has an impressive voice, he manages to be at home in Italian opera but can still turn on the necessary tone and edge to make these Purcell pieces work. His is not the soft option, but a really keenly voiced, profoundly moving account. Robert Hugill Proms, London	148
	The performance was definitely worth attending, for [...] Iestyn Davies’s luminous Micah... Hugh Canning, The Sunday Times Handel's Samson, Proms, London	147
	Susan Gritton's all-too-brief appearance as the wheedling Dalila was flawless, as was Iestyn Davies's Micah. Barry Millington, Evening Standard Handel's Samson, Proms, London	146
	Iestyn Davies, piping nimbly as Micah, the story’s guide... Geoff Brown, The Times Handel's Samson, Proms, London	145
	... as Micah, Iestyn Davies's superb musicianship combined with the translucent beauty of his countertenor to raise his secondary character to the centre of attention. George Hall, The Guardian Handel's Samson, Proms, London	144
	Micah, sung by the inimitable Iestyn Davies, provides a wonderful contrast to this anguished moment with his recitative that follows. His honeyed tones bring endless pleasure to what seems to me the best part in the oratorio. He manoeuvres effortlessly through demanding semiquaver passages, for example in his last air of Act 1, and delivers the most amazingly-articulate 't's. Each flies like the sharpest of arrows right to the very back of the hall; not one could be missed by a single audience member. For me, the highlight has to be the tones of Davies; his silky tones were a hidden jewel in the crown of this most enjoyable performance of a Handel classic. Let's hope it's not too long before it's back at the Proms again. Claudine Nightingale, MusicalCriticism.com Handel's Samson, Proms, London	143
	But for me, the highlight was undoubtedly Iestyn Davies, and the highlight of his performance was Return, O God of hosts! But throughout he was just wonderful. Such a beauty of tone, amazing breath control, such expression, dramatic insight. And loud. I'm not someone who judges a singer solely on their volume, and I would far rather listen to a good quiet singer than a loud one with an absence of musicality. But Iestyn has it all, so the loudness is just icing on the cake. And I think it is worth noting in a counter-tenor because there are often complaints that they get drowned out by the orchestra especially in large halls. It probably isn't actually loudness as such, but an ability to place the voice which is difficult to describe but you know it when you hear it. Gertsamkunstwerk Handel's Samson, Proms, London	142
	The evening's other hero, in the role of Micah, was counter-tenor Iestyn Davies: with all the perfection of Andreas Scholl, but with much more warmth, he projected his voice so effectively that he balanced the double-size chorus, while even his pianissimos carried powerfully round the dome. Michael Church, The Independent Handel's Samson, Proms, London	141
	Interview with Rupert Christiansen of the Daily Telegraph - 8 August 2009. Click here.	140
	... the sensational young counter-tenor Iestyn Davies. Daily Telegraph	139
	Countertenor Davies delivered arias that Handel wrote for the great castrati Nicolini and Senesino with laser precision and the most glorious tone. Rian Evans, The Guardian Cheltenham Music Festival	138
	[Handel's] first London opera Rinaldo led to endless tussling with entrepreneurs and castrati: cue for the countertenor Iestyn Davies and trumpets from the upper galleries to provide a spendid performance of Or la tromba. Hilary Finch, The Times Cheltenham Music Festival	137
	A rarefied programme of English and German music... Iestyn Davies is about as near as real musicians can come to being an overnight sensation... the choice of repertoire itself showed tremendous confidence... The Queen’s Epicedium [...] provides a singer with challenges of the sort that Davies relishes – it can’t be easy to produce the kind of unwaveringly plaintive tone required for lines like “The Queen of Arcadie is gone!” whilst giving attention to the inevitable flourishes... difficult figures imitating brass instruments flung out as though they presented no challenge at all. Melani Eskanazi , ClassicalSource.com Solo recital debut, Wigmore Hall: Purcell, Blow, Buxtehude, Handel This performance was recorded for release on Wigmore Hall's label	136
	One of the great countertenors. Sean Rafferty, BBC Radio 3	135
	Iestyn Davies, as (Athalia's) opponent, the high priest Joad, singing with strength and clarity, is a rising star among British countertenors. Clare Colvin, Sunday Express Athalia, London Lufthansa Festival of Baroque Music	134
	Iestyn Davies as Joad proved himself as silky-toned as ever. He gave a smoothly controlled performance that judged both the mood of the work and the comparatively intimate space of St John's well. His impressive technique made light of the filigree coloratura of Gloomy tyrants, and brought a delicate plangency to the lyrical Jerusalem, thou shalt no more, its rippling arpeggios a prefiguration of the much-beloved Waft her, angels from Jeptha. Alexandra Coghlan, musicalcriticism.com Athalia, London Lufthansa Festival of Baroque Music	133
	... with a power and clarity that conveyed an appealingly understated heroism. Iestyn Davies, a countertenor, matched those qualities in his more overtly heroic portrayal of Joad. Allan Kozinn, New York Times Athalia	132
	... Iestyn Davies, who has one of the most glorious countertenor voices in the world today Michael Church, The Independent Athalia, London Lufthansa Festival of Baroque Music	131
	... countertenor Iestyn Davies pure-toned as Joad... RFichard Fairman, Financial Times Athalia, London Lufthansa Festival of Baroque Music	130
	Iestyn Davies sang the role of the high priest, Joad, with confidence and lovely floating head tones... John Yohalem, Opera Today Athalia, London Lufthansa Festival of Baroque Music	129
	Iestyn Davies's rapt, introverted Joad... exceptional. Tin Ashley, The Guardian Athalia, London Lufthansa Festival of Baroque Music	128
	... the amazing countertenor Iestyn Davies as Hamor (in love with Iphis) was vocally powerful throughout and in their duet at the end of Act I, scene III, you felt privileged to be in the audience. Tony Cooper, Norwich Evening News Jephtha, Norfolk and Norwich Festival	127
	[John Mark Ainsley]... met his match in the exciting young countertenor Iestyn Davies, whose smoothness of vocal production and gracefully intelligent phrasing as Jephtha's prospective son-in-law Hamor not even Andreas Scholl could surpass. Rupert Christiansen, The Daily Telegraph Jephtha, London Handel Festival	126
	Countertenor Iestyn Davies is fast taking on the mantle of James Bowman; his Hamor had everything this part requires, from the confident declamatory strength needed in If such thy cruel purpose to the sweetness of tone and moving quality of intonation in Tis Heav’n’s all-ruling pow’r. Melanie Esknazi, Classical Source Jephtha, London Handel Festival	125
	Iestyn Davies sang the Spirit from off-stage, and filled the auditorium with the true sound of a real baroque singer. Melanie Eskanazi, Classical Source Dido and Aeneas, Royal Opera House, Covent Garden, London	124
	Iestyn Davies made an impressive Covent Garden debut too, singing sweetly from above through the hole in the roof. Intermezzo Dido and Aeneas, Royal Opera House, Covent Garden, London	123
	Iestyn Davies' disembodied pronouncements as the Spirit from high up in the auditorium were suitably ethereal. Keith McDonnell, musicOMH Dido and Aeneas, Royal Opera House, Covent Garden, London	122
	...the greatest vocal purity came from Iestyn Davies as the Spirit. Dominic McHugh, Musical Criticism Dido and Aeneas, Royal Opera House, Covent Garden, London	121
	Iestyn Davies was a welcome newcomer to ROH, singing his twelve bars as the Spirit from off-stage somewhere, but with clean attack, good full-throated projection and clear diction. ue Loder, Opera Today Dido and Aeneas, Royal Opera House, Covent Garden, London .	120
	The countertenor Iestyn Davies piped sweetly as Oberon... William Albright, Opera Magazine A Midsummer Night's Dream, Houston Grand Opera	119-4
	... countertenor Iestyn Davies was a handsome and virile Oberon Wes Blomster, Opera Now A Midsummer Night's Dream, Houston Grand Opera	119-3
	In his HGO debut as Oberon, countertenor Iestyn Davies had not only the high range but also a top-to-bottom depth of resonance that projected both the unearthly and regal qualities of the fairy king. At times, the effect of both these singers [... Laura Claycomb...] was nothing short of uncanny, vividly evoking the supernatural world they inhabit. Gregory Barnett, Opera News A Midsummer Night's Dream, Houston Grand Opera	119-2
	Leading the quartet of magical characters, Iestyn Davies, making his HGO debut, was a brilliant Oberon. His bright, even countertenor floated gloriously above Britten’s instrumental evocations and was never too creamy to become non-present. There was an attractive edge to his tone, and this helped heighten the sense of Oberon’s mischievous nature. Coloratura runs, dissonant leaps and perfect diction were all executed with ease. Concerto.net A Midsummer Night's Dream, Houston Grand Opera	119
	Welsh countertenor Iestyn Davies (HGO debut) vocally had one of just a short string of unqualified successes with their parts. Less ostentatiously costumed than is James Bowman on the dvd of the Peter Hall production, he gave his part the air of mystery, contemplation, and aloofness in a way that at least some of the part calls for as well. His vocal production was about the entirely most even of the entire cast and could have been identified by a few of us with that of Alfred Deller. I hope it not heresy to say either that I found his more subdued and thus more introspective and mysterious interpretation of Oberon, in acting also, to be mildly preferable to the more blowsy James Bowman on the wonderful Haitink/Peter Hall dvd. This was altogether a very fine piece of work. David H Spence, Opera-L A Midsummer Night's Dream, Houston Grand Opera	118
	Welsh countertenor Iestyn Davies sings Oberon with smooth control and precision, exuding stately authority. His best moment is the opera’s best-known aria, I Know a Bank Where the Wild Thyme Blows. Chron.com A Midsummer Night's Dream, Houston Grand Opera	117
	Each set of characters gets its own particular sound, with Oberon's countertenor the most distinctive and powerful as it soars clear and bright, when the King of the Fairies (Iestyn Davies) weaves his spells on unsuspecting bumpkins and his lustful queen Tytania alike. Houston Press A Midsummer Night's Dream, Houston Grand Opera	116
	2008
	Iestyn Davies sang... with his customary cultivated beauty of tone. Melanie Eskanazi, Seen and Heard Messiah,	115
	I’ve chosen Iestyn Davies whom we all describe as 'the new kid on the block’, the most wonderful young singer who has come to the fore very much recently, and he’s singing opera at the moment, in Partenope. A wonderful technique, and I am filled with envy. I admire him enormously. James Bowman BBC Radio 3, Early Music Show, 26 October 2008 Listen on the BBc iPlayer until 1 November 2008 - about 49 minutes in	114
	News! ENO's 2008 Partenope wins Olivier Award for Best New Opera Production
	Iestyn Davies (as Armindo) reveals a wonderful clarion voice and an engaging stage manner as the terminally bumbling and tongue-tied lover. Robert Thicknesse, The Tablet Partenope, ENO	113
	And thoroughly dazzling was Iestyn Davies, whose gorgeously clear countertenor is a real discovery. His stone-faced, Keatonesque comedy acting was delightfully done. Rob Ainsley, SkyArts Partenope, ENO	112
	Iestyn Davies as Armindo all but dominates the show with countertenor singing of extraordinary, fleshed-out fullness and endearing pathos as the timid lover who eventually gets the girl. Michael White, The Catholic Herald Partenope, ENO	111
	... a world-class cast... Iestyn Davies amusing and touching as a Chaplinesque Armindo... Hugh Canning, The Sunday Times Partenope, ENO	110
	Davies's voice has grown, losing none of its sweetness, and his singing is pure and polished through the most gymnastic of his character Armindo's slapstick routines. Anna Picard, The Independent on Sunday Partenope. ENO	109
	ENO PARTENOPE PODCAST - CLICK HERE Christopher Alden, Rosemary Joshua, Christine Rice and Iestyn Davies discuss ENO's 2008 production of Handel's Partenope.
	... but it is countertenor Iestyn Davies whose astonishingly agile, forceful voice upstages them all. Anthony Holden, The Observer Partenope, ENO	108
	Of the singers, only Iestyn Davies as Armindo was consistently excellent. He has a secure, honeyed tone, every note faultlessly placed, and his Keatonesque slapstick as Partenope's timid, fumbling suitor was delightfully judged. Intermezzo Partenope, ENO	107
	Countertenor Iestyn Davies was Armindo, his voice bright and clear, his pitching always seeming to find the middle of the note, and his acting convincing (he did seem positively distraught in How I long to explain my sighing)...[his] Armindo provided plenty of fun. Colin Clarke, musicweb Partenope, ENO	106
	Countertenor Iestyn Davies [...] was brilliant, with no apparent tension in any register of his voice and the ability to project strongly throughout. Dominic McHugh, Musical Criticism Partenope, ENO	105
	The insipid, undercharacterised Armindo, who finally wins Partenope, is well taken by the countertenor Iestyn Davies. Michael Tanner, The Spectator Partenope, ENO	104
	Iestyn Davies’ ample alto really filled out the “droopy and mournful” Armindo. Edward Seckerson, The Independent Partenope, ENO	103
	Armindo's an unbearable drip but in the hands of Davies' honeyed counter-tenor he becomes a smooth-talker. Laura Battle, musicomh.com Partenope, ENO	102
	In the end the counter-tenor gets the girl, and you can well understand why she might have chosen Iestyn Davies's delightful Armindo. Rupert Christiansen, The Daily Telegraph Partenope, ENO	101
	Iestyn Davies as the weak willed, but ultimately successful in love Armindo, brings a richness of voice to the role in a very assured performance. Kimberley Knudsen The Public Reviews Partenope, ENO	100
	Iestyn Davies, the effete if attractive Armindo Tim Ashley, The Guardian Partenope, ENO	99
	Countertenor Iestyn Davies (Armindo) tumbles downstairs with the deadpan solemnity of Buster Keaton and sings like an angel who smokes five a day — pure-toned with hint of roughness. He’s a find. Fiona Maddocks, The Evening Standard Partenope, ENO	98
	Iestyn Davies’s Armindo also had to do battle with stage business and achieved a similar triumph – this is not an easy character to convey, given that he spends most of the opera in a state somewhere between tremulous expectation and despair, but still gets the girl in the end – Davies was completely convincing, and his singing was consistently lovely in tone and elegant in phrasing, his Act One aria a high point of the evening. Melanie Eskanazi, Classicalsource Partenope, ENO	97
	Iestyn Davies an unexpectedly strong Armindo Andrew Clark, The Financial Times Partenope, ENO	96
	The countertenor Iestyn Davies sang winningly as a Chaplinesque bumbler who, in spite of himself, ends up getting the girl. Richard Morrison, The Times Partenope, ENO	95
	Countertenor Iestyn Davies, too, was brilliant, with no apparent tension in any register of his voice and the ability to project strongly throughout. Dominic McHugh, Musicalcriticism.com Partenope, ENO	94
	(Mackerras's) soloists could hardly be bettered... Iestyn Davies limpidly plangent as the prophet Daniel. Paul Driver, The Times Belshazar, BBC Proms, London	93
	Iestyn Davies, pouring vocal balm on the utterances of the young prophet Daniel Financial Times B elshazar, BBC Proms, London	92
	The soloists were, on the whole, excellent. Iestyn Davies’s voice carried so well, every word captured beautifully and full of understanding; the prophet Daniel’s appearances in the oratorio became something to look forward to: the lengthy Act One aria O sacred oracles of truth was appropriately naïve sounding, life not yet poisoned by bad experiences. Without much effort, it seemed, Davies’s luscious voice filled the Hall; a rare and great achievement. Kevin Rogers, classicalsource.com Belshazar, BBC Proms, London	91
	Iestyn Davies, fresh from his convincing Proms performance in The Coronation of Poppaea a couple of weeks back, was the pick of the soloists, a honey-toned countertenor who never lets the stubble show vocally. Intermezzo Belshazar, BBC Proms, London	90
	Iestyn Davies's Daniel revealed something of the depth among today's countertenors Guy Dammann, The Guardian Belshazar, BBC Proms, London	89
	Iestyn Davies with an impeccably groomed voice as a fine Daniel Barry Millington, Evening Standard Belshazar, BBC Proms, London	88
	Iestyn Davies [provided] a noble legato of faith for Daniel, sealed by subtle vocal ornamentation Hilary Finch, The Times Belshazar, BBC Proms, London	87
	Iestyn Davies gave a mellifluous, honey-sweet performance of Daniel's first aria – a quality which he maintains throughout. Davies brings a sublime quality to the music with his performance. Claudine Nightingale, musicalcriticism.com Belshazar, BBC Proms, London	86
	Iestyn Davies, as the prophet Daniel, produced not only some of the finest singing of the evening, but some of the most heartfelt Handel singing that's been heard in London for some time. His Lament not thus, O Queen, in vain was delivered with a simplicity that touched the heart – his star is most definitely in the ascendant. Keith McDonnell, musicOMH.com Belshazar, BBC Proms, London	85
	Interview with Iestyn Davies - here.	84
	Iestyn Davies's Otho and Marie Arnet's Drusilla were [...] excellent. Erica Jeal, Guardian L'incoronazione di Poppea, BBC Proms, London	83
	Iestyn Davies (Ottone) and Marie Arnet (Drusilla) were vocally excellent in the roles... Barry Millington, Evening Standard / This is London L'incoronazione di Poppea, Proms, London	82
	... Iestyn Davies' likeable and warmly-sung Otho ... Simon Thomas, musicOHM.com L'incoronazione di Poppea, Proms, London	81
	... once the silly, barely audible business of the prologue was out of the way, the strong, expressive voice of Iestyn Davies's Otho drew things into greater focus. Geoffrrey Norris, Daily Telegraph L'incoronazione di Poppea, Proms, London	80
	Iestyn Davies was an engaging Flavio Andrew Clark, Financial Times Flavio, Barbican, London	79
	Iestyn Davies (soon to play Ottone in Glyndebourne's L'incoronazione di Poppea) was impressive Laura Battle, MusicOMH.com Flavio, Barbican, London	78
	Flavio himself was sung by Iestyn Davies, one of a remarkable pair of countertenors (the other was Robin Blaze...) Christopher Morley, Birmingham Post Flavio, Birmingham Town Hal	77
	Iestyn Davies, crisp and alert in the title role Fiona Maddocks, Evening Standard Flavio, Barbican, London	76
	... that superb counter-tenor Iestyn Davies... Michael Church, Independent Bach B Minor Mass, St John's Smith Square	75
	Another debutant, countertenor Iestyn Davies, made a good impression George Loomis, New York Sun King Arthur, New York City Opera	74
	... impressive work. Anthony Tommasini, New York Times King Arthur, New York City Opera	73
	This is a voice that is going to make waves for a long time to come. [...] Davies sounds like a tenor in his lower range, yet makes a seamless transition to falsetto [... so] the voice retains its masculinity and power. But these would mean little without his musicality and, more tellingly, his composure. He remained unfazed through acres of demanding ornamentation, all of which he slotted in without compromising his rhythmic momentum. To his extended aria within Blow's ode on Purcell's death he brought an icy cool that was breathtaking. Martin Dreyer, York Press	72
	... a world-class singer... with a following for his opera performances and recitals in Britain and the United States... The Press	71
	2007
	[Guadagni's] arias [...] are magnificently sung here by Iestyn Davies. His But who may abide evokes the refiner's fire vividly yet without exaggeration, his ornamentation is neat and appropriate but not gaudy, and, above all, he imbues the piece with a wonderful sense of trepidation, typical of a reading of the whole oratorio which has clearly been meticulously thought through with the aim of bringing out all the meaning in the text [...] the awed expressiveness of Behold a virgin shall conceive [...] As a result it is far more than a successful exercise in historical reconstruction, and must qualify as one of the finest available recordings of Messiah [...] sure of a place in every Baroque connoisseur's CD collection. Elizabeth Roche, Early Music Journal Messiah recording	70
	The countertenor Iestyn Davies [...] has a very special quality. It's not just the sound – poised and pure, a true male alto – but the unpretentious honesty of his artistry that touches us. He was despised emerged like the still centre of the entire evening, with each restatement of the words left hanging in the air, while Handel's pained string ritornello reflected on their consequences. EDward Seckerson, The Independent Messiah, Barbican	69
	Countertenor Iestyn Davies was, meanwhile, a treat, his enunciation a model of clarity and his bell-like, focused sound caressing every one of Handel's melodic lines. In the Part Three duet O death, his firmly-placed, pure tone... Dave Paxton, musicOMH.com Messiah, Barbican	68
	Iestyn Davies was called upon to take the countertenor role, and he did it with great style, his polish remarkable although, perhaps perversely, this critic felt sad that all the boyish nervousness seemed to have gone from his attack, and been replaced with a Bowman-like elegance. No matter - Then shall the eyes of the blind be opened was typical of his moving recitative, and He was despised hit exactly the right balance between sentiment and drama. Melanie Eskenazi , Seen and Heard Messiah, Barbican	67
	The countertenor Iestyn Davies [...] was the stand-out among an interesting quartet of soloists. Martin Kettle, The Guardian Messiah, Barbican	66
	The rounded, finely tempered voice of countertenor Iestyn Davies gave his substantial role impressive command Mike Marsh, The Echo Messiah, Bournemouth	65
	... the mellifluous countertenor Iestyn Davies... Glasgow Herald Theodora, Glasgow	64
	Iestyn Davies as Didymus sounded beautiful throughout Rowena Smith, The Guardian Theodora, Edinburgh	63
	Only a countertenor of Iestyn Davies's dramatic and vocal assurance could deliver the line,'I am a Christian', and hold an audience in rapt attention. But rapt we were [ ... ] The quartet of solo violin, cello, theorbo and harpsichord accompanying Didymus in Sweet Rose and Lily was a particular delight. Mary Crockett, The Scotsman Theodora, Edinburgh	62
	Of the up and coming generation [ of countertenors ], Iestyn Davies is the pick of the bunch. Glasgow Herald interview	61
	The Herald (Glasgow, Scotland) profiles Iestyn Davies in an article here. Also here as PDF.	60
	I do not think that I will ever hear a performance of [ Britten's ] Canticles as magnificent as John Mark Ainsley's with the brilliant young countertenor Iestyn Davies John Gilhooly, Director, Wigmore Hall Wigmore Hall Annual Report	59
	Iestyn Davies strengthens his growing reputation as an up-and-coming countertenor, intelligent in his handling of text, vocally gorgeous in La rondinella amante and dazzling in the hunting aria Alle minacce di fiera belve, holding his own against the forceful orchestration. Glyn Pursglove, Musicweb La Griselda recording	58
	The young countertenor Iestyn Davies gave, quite simply, the finest performance of [the 2nd movement solo] that I’ve ever heard. His plangent timbre and expressive voice was ideally suited to the music. John Quinn, Seen & Heard Bernstein's Chichester Psalms, Cheltenham Festival	57
	I liked Iestyn Davies' countertenor Voice of Apollo. Michael Kennedy, Opera magazine Death in Venice, English National Opera	56
	The voice of countertenor Iestyn Davies, as Apollo, is magically pure in tone. William Parsons, The Lady Death in Venice, English National Opera	55
	Countertenor Iestyn Davies as the Voice of Apollo makes a strong impression. ukgay.com Death in Venice, English National Opera	54
	Iestyn Davies (as Apollo) sang excellently. Timothy Ball, classicalsource.com Death in Venice, English National Opera	53
	Iestyn Davies makes much of the small role of Apollo - dressed, interestingly enough, as Tadzio's double - thanks to an unusually vibrant countertenor. John Allison, Seven Magazine/Sunday Telegraph Death in Venice, English National Opera	52
	... and Iestyn Davies, as the Voice of Apollo, [ is ] first class. Hugh Canning, The Times Death in Venice, English National Opera	51
	... countertenor Iestyn Davies, singing the part of Apollo, looked and sounded strong and Apollonian. Agnes Kory, Musical Criticism Death in Venice, English National Opera	50
	We lose some of the words of the chorus but not of [ ... ] Iestyn Davies's bright countertenor Apollo Erica Jeal, The Guardian Death in Venice, English National Opera	48
	Iestyn Davies brings an unearthly quality to the Voice of Apollo The Stage Death in Venice, English National Opera	48
	Iestyn Davies, an earthbound Apollo with a full and resonant countertenor Simon Thomas, musicomh.com Death in Venice, English National Opera	47
	... the atmosphere of the “Greek games” is immensely enhanced by Iestyn Davies’s vibrant countertenor as the Voice of Apollo. Richard Morrison, The Times Death in Venice, English National Opera	46
	Iestyn Davies, in the countertenor role of Apollo, had bell-like clarity Fiona Maddocks, London Evening Standard Death in Venice, English National Opera	45
	news flash ! La Griselda CD wins BBC Music magazine Award 'Opera Recording of the Year 2007' - click here for details.	44
	Iestyn Davies... deeply expressive Barry Millington, London Evening Standard St Matthew Passion, Royal Albert Hall	43
	The quality of the playing on the Naxos recording is, along with the singing of the countertenor Iestyn Davies, enough to justify buying it... (his) He was despised ranks with the best I know. This is one area where the Naxos recording scores (over the Jacobs, Harmonia Mundi record) in that Iestyn Davies provides the excitement that Zazzo lacks. Melanie Eskanazi, Fanfare Magazine Recording: Handel's Messiah	42
	2006
	... the performance of the complete Canticles by the Nash Ensemble with Iestyn Davies and John Mark Ainsley, would be outstanding [ among 2006 performances ] for its unmatchable singing, its finely judged drama and its overwhelming commitment. Seen and Heard's Review of the year 2006 (Melanie Eskanazi)	41
	The counter-tenor Iestyn Davies continues to grow in musical stature. He has a gravitas about his singing which might seem at odds with his youth, yet which is entirely fitting – ‘But who may abide’ and ‘He shall feed his flock’ were both ideally balanced between the sombre and the quietly joyful, and ‘He was despised’ was finely phrased and beautifully coloured. Melanie Eskanazi, Musicweb Handel: Messiah, St John's Smith Square	40
	a convincing, unshrill sound Charles T Downey, ionarts La Griselda recording	39
	Davies was the ideal Isaac: his youthful tone made his music especially poignant, and he was at one with [ John Mark ] Ainsley in his highly charged yet never overplayed interpretation: ‘Father, seeing you must needs do so / let it pass lightly, and over go’ can hardly have left a dry eye in the house. Melanie Eskanazi, Musicweb Britten: Canticles, Wigmore Hall	38
	... the exceptional countertenor Iestyn Davies... Tim Ashley, The Guardian Handel's Messiah (Higginbottom recording)	37
	... (John Mark) Ainsley as Abraham ideally partnered by the unconstrained, mellifluous Isaac of countertenor Iestyn Davies; their backs to the audience, they joined in a spine-tingling duet to represent the disembodied voice of God. Erica Jeal, The Guardian Britten: Canticles, Wigmore Hall	36
	... as fine musically as [ he is ] foul dramatically. Stephen Walsh, The Independent Il ritorno d'Ulisse in patria, WNO	35
	... particularly fine singing... Bill Kenny, MusicWeb Il ritorno d'Ulisse in patria, WNO	34
	the countertenor Iestyn Davies and the tenor James Gilchrist are especially welcome, marrying words to vocal line with winged strength. Alastair MacAulay, The Times King Arthur, ENO	33
	Countertenor Iestyn Davies... has a markedly focused sound and presence. Variety King Arthur, ENO	32
3	I should like to have heard the countertenor Iestyn Davies sing [ Fairest Isle ]. His number summoning the battle-weary heroes to Woden's Hall was splendid. It's a smashing voice and he has real stage presence. Edward Seckerson, The Independent King Arthur, ENO	31
	... sensitive singing... Anna Picard, Independent Online King Arthur, ENO	30
	Iestyn Davies is clearly a countertenor to watch Metro King Arthur, ENO	29
	I wanted to take the countertenor Iestyn Davies home with me Bloomberg King Arthur, ENO 30	28
	Countertenor Iestyn Davies delights with his smooth, expressive tone musicOMH.com King Arthur, ENO	27
	... Iestyn Davies and his superbly controlled countertenor voice as Hamor BBC Bristol Jeptha, WNO	26
	Iestyn Davies in the BBC Radio 3 studio - March 2006 - click here	25
	Interview with Iestyn Davies at Opera Today - click here	24
	Special mention should be made of the bell-like voice of Iestyn Davies as the distraught, betrothed Hamor. The clarity and range of this countertenor was breathtaking and his breath control during the trills and runs was fantastic. MiltonKeynes.com Jeptha, WNO	23
	... the rich beauty of countertenor Iestyn Davies' voice was used to full effect in Es ist vollbracht. Glasgow Herald St John Passion	22
	He has it all. His prodigious natural gifts include a beautifully cultivated, flexible and agile voice, a sense of the shaping of a phrase very rare in so young an artist, and a very engaging stage presence... one can only imagine how far he will go. I have seldom heard He shall feed his flock sung with more sheer vocal beauty, or He was despised given with so much tenderness. musicweb Messiah	21
	... beautifully articulated and affecting singing... The Guardian Jeptha, WNO	20
	2005
	The young Iestyn Davies proved to be a discovery with his expressive countertenor which radiated great naturalness. Dresdner Neueste Nachrichten Messiah	19
	Another strong performance from the young countertenor Glasgow Herald BWV 170	18
	Countertenor Iestyn Davies, a young singer to watch, was extremely impressive as the noble high priest, Joad. Glasgow Herald Athalia	17
	Counter-tenor Iestyn Davies, as Joad, stole the show with a beautifully nuanced performance, authoritative, emotional and lusciously sung. The Scotsman Athalia	16
	This young countertenor is exceptional. A true countertenor, not a male alto masquerading as one, his voice is rooted as a baritone, the richness of his low register singing having fine tonal quality, while its top, alto range is firm and full. Sheffield Telegraph English songs of the 16th century	15
	On retiendra particulièrement Iestyn Davies, jeune contre-ténor à la voix puissante et bien timbrée. Le Progrès La Griselda	14
	Iestyn Davies a un timbre de contre-ténor riche et bien sonnant. Son phrasé est simplement encore un peu raide et son legato perfectible. Operabaroque.com La Griselda,	13
	Superbe! Une voix claire mais puissante, j'ai hâte de le ré-entendre. Do-si-do La Griselda	12
	Iestyn Davies est l'autre grande découverte de la soirée. Ce tout jeune contre-ténor est un chanteur à suivre car il montre une voix puissante, franche et ensoleillée. Son chant est loin d'être dépourvu de musicalité comme le démontre son second air La rondinella amante: il donne des notes très légères, aériennes pour souligner l'intensité de ses propos. Mais il est également capable d'imposer un engagement important dans Alle minaccie di fiera belva, duo avec un cor, à travers les différents "r" et "t" qu'il accentue violemment. Manon Ardouin, Concertonet La Griselda	11
	… outstanding BBC Music Magazine Finnissy Anima Christi (Exaudi recording)	10
	2004
	Nos papéis de solista destacou-se o jovem contratenor Iestyn Davies, numa interpretação que rondou o superlativo. Não é difícil antever-lhe uma carreira de grande sucesso. Cultura Messiah	9
	There were very many stylish contributions but perhaps none that augurs better for Baroque performance in the immediate future than that of countertenor Iesty Sn Davies. Milton's line juxtaposes gorgeous with tragedy. Davies's voice memorably combined the two. The Guardian L'Allegro, Il Penseroso ed il Moderato, Snape Proms	8
	... the ornamentations and expression... such artistry!... Terence Best Giulio Cesare arias	7
	... Iestyn Davies, who proved himself to be that rare creature, a truly virile and sensuous countertenor. He was a star in a Messiah that managed to combine earthy vigour with the dignity demanded by its subject. Irish Times Messiah	6
	Iestyn Davies's countertenor was simply wonderful, with impeccable intonation. His caricature of a mad lepidopterist - desperate to make his catch - was artfully drawn and, if this rich sound is what Davies achieves in the open air, one can only imagine how it will be in more resonant circumstances. Opera Il Tempesto Tutore,	5
	Countertenor Iestyn Davies was particularly outstanding as Orpheus www.dailyinfo.co.uk The Story of Orpheus	4
	... spine chilling... Opera The Story of Orpheus	3
	Davies' alto burnt fiercely in the title role The Times The Story of Orpheus	2
	As soon as he bounded on to the podium, we felt we were in safe hands. Here was a young man who really meant business: a fantastic combination of amazing voice and maturity of character BBC Radio 3 Early Music Show London Handel Competition	1