The Purcell Academy • Paul-Antoine Bénos-Djian
My composition teacher in college told me about a trip he’d taken to London; his opera was being performed and he’d had the occasion to have tea with someone in Henry Purcell’s home. At the time, I’d already confessed my love to anyone who’d listen about early music, but I really didn’t know much of Purcell’s music.
Luckily, Henry and I have become acquainted since those days, thankfully so!
Among my favorite performances of his songs are those done by Reginald Mobley, a countertenor, who for me, has an ideal style to bring this music alive.
This new release entitled Begin the Song! places Purcell’s songs in context to his contemporaries, including John Eccles, William Croft, Thomas Ravenscroft, among others. I think it’s a smart program. Bénos-Djian is accompanied in this case by Le Consort, the group led by Téotime Langlois de Swarte and Justin Taylor. Remarkably, the violin contributions are not overdone or overbearing. (In some older MAK recordings featuring a singer with solo violin, I felt their director couldn’t help but show off a bit in the context of him being, well, the director!) Taylor’s contributions are the more florid, the more noticeable aspect of the performances. The eighth track demonstrates this well—in the famous pliant from Purcell’s Fairy Queen.
Among countertenors, Bénos-Djian doesn’t have the highest voice, which is fine for this repertoire. I am not an expert at period diction, but compared to some other singers of Purcell’s music? (Mr. Scholl?) I found understanding his English easier for me than most.
Among the most recognizable pieces on this album include track 11, Music for a while. It’s not highly stylized as I have heard, but the musicians here are committed to presenting this in a reasonably historically-informed fashion. Given the availability of more modern and jazzy versions from the likes of Jakob Orlinksi and L’Apreggiata under Christina Pluhar, I think this was wise.
Taylor is using a virginal, a smaller harpsichord with a different tone; it’s most up front, perhaps, in the thirteenth track, lending this album a sound that many will associate with the period. I also like their approach to not use all the continuo they have all the time.
For me, another familiar track is the last, The Three Ravens by Ravenscroft. It gives us the opportunity to hear Bénos-Djian a cappella for a spell. The layering of the bass support, again, is a good move.
Another smart move? To include some instrumental numbers. The Air in G minor from Purcell’s Abdelazer is proof enough that he could write good music, whether it was for instruments or for voice. There’s something about Croft’s Symphony in track 15 that lends itself to viols over violins? Can’t be sure, but despite that, Le Consort lead with their normal restraint, providing some good contrast between the slow opening and the faster section that follows.
The titular song, Begin the song! from John Blow reveals most clearly the use of vibrato by the singer. Bénos-Djian is already an accomplished singer. I’m not the biggest fan of vibrato, especially for this period, but it never approaches getting annoying.
In conclusion, this is a great collection of English music written before 1700. There’s something for us to admire across each track. The instrumental support is strong; the singing affective, without going to any particular extremes.
As far as voices go, I regrettably can’t say that Bénos-Djian’s is my favorite. For my taste, he’s more enjoyable than, say Andreas Scholl is to my taste, but less so than the aforementioned Mobley, or another favorite of mine, Philippe Jaroussky. That said, and as I mentioned, I find him easier to understand the words than either Jaroussky or Scholl, or even Gérard Lesne. I’ve always admired Lesne’s voice, it’s timbre. Here’s a sample of him performing Music for a While:
If you like Purcell’s music, or the songs he and his contemporaries created, this album will be of interest to you. The sound of one’s voice is a very subjective thing that is difficult to judge; just as I may have my preferences, you may find Bénos-Djian’s voice quality enchanting, well-serving this repertoire. The production quality supports him well, with Le Consort here providing the role of an actively engaged and primed band.
