Related Reviews
Herald Scotland
'....the immaculate duo of Gilchrist and Tilbrook lavished their profound emotional and psychological acuity in a shattering account of Schumann's tender, heart-rending vision of a poet's life and love
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MusicWeb International
'he doesn't just sing; he thinks himself vocally into the meaning of the words'
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BBC Magazine
'an honesty put to the test by the exposed acoustic and a fine artistic imagination are held in a near-perfect equilibrium.'
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MusicWeb International
Recording of the Month: 'A highly desirable disc.'
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American Record Guide
'Gilchrist’s voice is exquisitely lovely in the style of the English choir tenor, and his singing is supremely evocative.'
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Fanfare
'[Gilchrist] has a real sense of what the songs are about'
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Fanfare
'very fine'
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Pizzicato
A review in German
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International Records Review
'a highly intelligent musical performance'
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Audiophile Audition
4 Stars
'Gilchrist sings wonderfully while pianist Tilbrook is with him every step of the way...This is a terrific production from Linn.'
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The Sunday Times
'Gilchrist is a greatly sensitive interpreter, his tone liquid yet urgent, his diction immaculate and august, his choices admirable.'
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The Guardian
'Gilchrist's rather English sound fits music that was conceived for Pears's equally English style very well, whether in the unbuttoned declarations of love of the Michelangelo songs, or the much darker introspection of the Donne Sonnets.'
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James Gilchrist - My Beloved is Mine - Opera News


01 February 2013
Opera News
William R. Braun

Although the four big Britten pieces in this collection are all associated with Peter Pears, it is hard to think of another tenor since Pears's day who has felt comfortable in each of them. (On This Island was originally conceived for soprano Sophie Wyss, but Pears took it up brilliantly.) Thus it is not unexpected that James Gilchrist finds success in some of these songs. Gilchrist's voice here sounds much as it does in life - a bit small, often breathy, but sweet. [Tilbrook] is very fluent on the instrument (she proves this in the rushing flood of the penultimate Holy Sonnet of John Donne, which pianist Roger Vignoles memorably characterized as "death at the poet's heels") but she gives "correct" performances rather than warm ones. 

Gilchrist's humble, deferential singing makes for a lovely, touching rendition of Donne's "Death, be not proud." It is less suited to On This Island, an early Britten cycle that ranks as one of the composer's most difficult vocal challenges. But there are some enjoyable moments in the Michelangelo sonnets, and Gilchrist obviously feels the Donne poetry in a deep way.


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