Christ Church Cathedral, Vancouver
Iestyn Davies & Fretwork: Lamento
Works by: J.C. Bach, Buxtehude, Schein, Schütz, & Sances
Artists: Iestyn Davies, countertenor & Fretwork viol consort directed by Richard Boothby
Pre-Concert Chat: 7pm with Richard Boothby hosted by Nicholas Burns
Countertenor Iestyn Davies, widely recognized as one of the world’s finest singers, joins the acclaimed viol consort Fretwork in this exploration of exquisite and deeply spiritual 17th-century German repertoire.
A beloved genre in the Baroque era, the lamento’s origins lay in early 17th century Italian opera, before finding its way into sacred music. It was quickly embraced by German sacred composers, who used its expressive nature to depict the sorrow of mankind’s sin and the tragic Passion of Christ. Johann Christoph Bach (1642-1703)’s Ach, dass ich Wassers gnug hätte, his best-known work that laments the sinfulness of humanity, forms the foundation of this programme that traverses across Baroque Germany.
“… Iestyn Davies sings with rapturous virtuosity and uncanny beauty…” – The Independent
Generously sponsored by Simon Murphy.
PROGRAMME
Franz Tunder (1614-1667)
Salve mi Jesu (original by Rovetta)
An Wasserflüßen Babylon
Samuel Scheidt (1587-1654)
Canzon super ‘O Nachbar Roland’
Christian Geist (1650-1711)
Es war aber an die Stätte
Johann Schein (1586-1630)
Suite from Banchetto Musicale No. 14
Paduan
Gagliarda
Courente
Allemande & Tripla
Johann Christoph Bach (1642-1703)
Lamento
Interval
Dietrich Buxtehude (1637-1707)
Jubilate Domino
Schein
Suite from Banchetto Musicale No. 7
Paduan
Gagliarda
Courente
Allemande & Tripla
Heinrich Schütz (1585-1672)
Erbarm dich mein
Scheidt
Canzon super cantionem gallicam
Buxtehude
Klaglied
Felices Sances (1600-1679)
Dulce nomen
Iestyn Davies, countertenor
After reading Archaeology and Anthropology at St John’s College, Cambridge, Iestyn Davies studied at the Royal Academy of Music, London.
An esteemed Handelian, he has delighted audiences globally with his vocal agility and supreme musicianship in roles such as Bertarido, Orlando, Rinaldo, Ottone Agrippina and David Saul. Committed also to contemporary music, his intelligent and considered interpretations have led to fruitful collaborations with Thomas Adés, George Benjamin and Nico Muhly.
On the opera stage, he has appeared at the Metropolitan Opera, New York; the Lyric Opera of Chicago; Teatro alla Scala Milan; the Royal Opera House, Covent Garden; English National Opera; Glyndebourne Festival Opera; Welsh National Opera; Teatro Real Madrid; Salzburg Festival and in Munich, Vienna, and Zurich. Recent appearances include Arsace Partenope in Madrid, Ottone Agrippina in Hamburg and Munich, Bertarido Rodelinda for the Metropolitan Opera, and Ottone L’incoronazione di Poppea in Versailles.
Concert engagements have included performances at the Teatro alla Scala, Milan with Dudamel, the Concertgebouw and Tonhalle with Koopman and at the Barbican, Théâtre des Champs-Élysées, Lincoln Centre, Carnegie Hall and at the BBC Proms in the Royal Albert Hall with orchestras that include the New York Philharmonic, London Philharmonic, English Concert, Britten Sinfonia, Concerto Köln, Concerto Copenhagen, Ensemble Matheus, the Orchestra of the Age of Enlightenment, Academy of Ancient Music and Scottish Chamber Orchestra. In the 2022/23 season, Iestyn appeared in concerts at Carnegie Hall with Bernard Labadie, the Berlin Philharmonie with Emmanuelle Haim, and at the Barbican in a world premiere production of music by Dowland with lutenist Thomas Dunford, staged by Netia Jones.
In the 2023/24 season, opera highlights include Tolomeo Cesare at Opéra National de Paris and Oberon A Midsummer Night’s Dream at Atlanta Opera and at Garsington Opera. In concert he joins Les Violons du Roy for Bach’s Christmas Oratorio, Finnish Radio Symphony Orchestra for Benjamin’s Written on Skin conducted by George Benjamin, the English Concert for Bertarido Rodelinda on tour to the United States and Asia, and the Australian Chamber Orchestra for a solo Bach programme on tour in Australia.
An outstanding recitalist, he has performed in Vienna, Tokyo, Paris, and New York in repertoire ranging from Dowland to Clapton. He is a regular favourite at London’s Wigmore Hall and Kings Place where he has curated residencies.
His recital discs have won three Gramophone Awards, and he performed on the Grammy-winning recording of Thomas Adès’s The Tempest. He is the recipient of a Royal Philharmonic Society Award and was nominated for an Olivier Award for his singing role in Farinelli and the King opposite Mark Rylance (premiered at London’s Sam Wanamaker Playhouse and transferring to the West End and Broadway). In 2017 he was awarded an MBE by the Queen for his services to music.
Fretwork, viol consort
“Fretwork is the finest viol consort on the planet” – Stephen Pettitt, The London Evening Standard.
Fretwork has been around for getting on for 40 years, performing music old and new, and look forward to a challenging and exciting future as the world’s leading consort of viols.
They have expanded their repertory to include music from over 500 years, from the first printed consort music in Venice in 1501 to music written this year. And, in between, everything that can be played on a consort of viols – Byrd & Schubert, Purcell & Shostakovitch, Gibbons & Britten, Dowland & Grieg.
While they used to fly all over the globe, they have now committed to reducing their carbon footprint by travelling in Europe only by train or electric cars – recently, they have toured Germany, France, Spain, Austria & Slovenia in their two Teslas.
The future sees many exciting projects based on the thrilling juxtaposition of old and new; making the experience of old music new and bringing the sensibilities of past ages to bear on contemporary music
