Handel, Oratorio Arias, D. Daniels, Ensemble Orchestral de Paris, J. Nelson (Virgin Classics, 2002)
Beethoven's mini-song cycle Adelaide was a case in point, music composed for a higher voice that tested Daniels at the top of his tessitura. He made most of it work quite beautifully, with a pretty sense of melodic line, but the same problems came to the fore in a set of songs by Reynaldo Hahn. In Hahn's lifetime countertenors were around, singing in church choirs, but that was a tradition with which Hahn had limited contact. A countertenor at the top of his range just does not have the same effect of sound as a soprano or tenor, which came across at the end of Hahn's Paysage, for example. Accompanist Martin Katz, not a finesse pianist, at times almost covered Daniels with forceful playing, making the largely unaccompanied Chanson au bord de la fontaine, a sort of neo-medieval planctus, the highlight of the set, as it featured the quiet beauty Daniels can achieve.
The most incongruous choice was a set of songs by Brahms, who likely would have rolled over in his grave at the sound of a countertenor singing his music. Here Katz was more in his element, giving a beefy sound at the keyboard in these songs, so often predominantly in the lower half of the instrument. High notes were again an issue, as at the climax of Auf dem See, but it was the sounds Brahms likely had in mind at the bottom end that did not match with the countertenor tessitura. Nicht mehr zu dir zu gehen is a magnificently gloomy song, with the piano brooding in the bass end in a way that put the spindly countertenor sound in a bad light, and it was almost certainly not what Brahms was thinking of in O wüsst' ich doch either. The best effect came in the lusty folk song set by Brahms, Mein Mädel hat einen Rosenmund, with its eye-winking "Du la la la" refrain.
Anne Midgette, Daniels, Katz show music is more than mere beauty (Washington Post, February 1)
Alex Baker, Blackberry Winner (Parterre Box, February 3)
The next recital in the Vocal Arts D.C. series features tenor Javier Camarena (March 24), in the Kennedy Center Terrace Theater.