Brian Asawa - Vocalise / Marriner, Academy of St. Martin in the Fields

We may have heard some of these pieces performed by female singers but I have never heard them performed by any countertenor. Aside from his daring, Mr. Asawa displays amazing (I'll even confess 'enviable') skill and artistry. His "pretty" voice (as it is touted....and his voice IS gorgeously endearing) is indisputable, and though I don't hold him as the authority on Rachmaninov's 'Vocalise', for example (for me that authority belongs to Anna Moffo), I appreciate his 'take' on it. This is the countertenor voice.I also appreciate that some may not be able to break the mould of traditions concerning the performance of these pieces but that is not to deny the fact that the countertenor voice in these songs is brilliant, by that (countertenor) standard. I go even further to say that the concept of a countertenor (and Mr. Asawa's ravishing one in particular) here adds an intruiging new feel to the works. We KNOW it's not Natalie Dessay or Joan Sutherland singing, though we love them too. This CD is more of an indulgence, to say the very least (and I say that not prejudice Mr. A's performance).Overall, this CD is certainly a fair introduction to these pieces with great performances in some parts. But more idiomatically speaking, this is a wonderful achievement by a top-rate countertenor and I'm getting more of his work.

Mr. Asawa is flawless on this album, but then again I may be biased since he is one of my favorite Countertenors and since I am a starting Countertenor myself. I particularly fell in love with Villa-Lobos''Cancao do amor,'and 'Bachinas Brasilieras.' Not to mention ALL of the works by Rachmaninov; YES even the vocalise!Mr. Asawa's voice is deliciously full and sensual as well as smooth. I agree with the above person who wrote that we should review this based on the fact that he as a classical vocalist is simply good! Not because he's good as far as being a countertenor is concerned or the fact that he sounds better/poorly than a mezzo. He's a vocalist and a damn good on in his own right. Give him his due for what he has put out. I truly love this album and Mr. Asawa.I give it a 20 on a scale from 1-19!!!!!!!!!!!!!!!!!!!

I almost laughed with the Villa-Lobos cantilena. The same with En Sourdine. This sort of music was meant to be sung by someone who sounds like a human being. If he wants to get into non-baroque repertoire, he should get some composer to write it for him.

High praise to Mr. Asawa. A facscinating collection of songs, beautifully performed. One of the best counter-tenor recordings I have heard. A must have for patrons of the counter-tenor voice.

There is not much emotion in Mr. Asawa's performance of Rachmaninov and no deep penetration into that great music.

ブライアン・アサワはカウンターテナーの中でもとりわけ優しい美声の持ち主と感じます。さしずめ、カウンターテナー界のオーラ・ファロンと言ったところでしょうか。カウンターテナーのＣＤとしてはこれで６人目になります。(アンドレアス・ショル、米良美一、フィリップ・ジャルスキー、フェルナンド・リマ、フランコ・ファジョーリ、★ブライアン・アサワ)これまで200人を超えるソプラノを聴いて、全部の声を区別できますが、カウンターテナーも、みんな違う声です。たとえば、アンドレアス・ショルは男性寄りの声質で、温かさと深みのある声で、声域はアルト。フィリップ・ジャルスキーは女性寄りの声質で、澄み切った流麗な声で、声域はメゾソプラノ。フランコ・ファジョーリはやや男性寄りで力強いメゾソプラノという感じです。このＣＤには、作曲者別に、フォーレ５曲、メトネル５曲、ヴィラ＝ロボス３曲、ラフマニノフ５曲が収録されています。そのうち、歌詞なしの母音唱法の歌唱曲であるヴォカリーズが３曲(５、１０、１８曲目)あり、有名なラフマニノフのヴォカリーズop.34-14も含まれます。同じ曲で一流ソプラノと聴き比べると、アサワもそうですが、どうしてもカウンターテナーの声域がアルトからメゾソプラノなので、キーが低くなってしまうのと、曲によって必要な感情的表現がソプラノ歌手に比べると乏しく、聴いていて物足らなく感じてしまいます。(フランコ・ファジョーリのように太い声も出せて情熱的な表現に長ける例外もありますし、ファジョーリやジャルスキーのように、かなりの高音まで出せるカウンターテナーもいます。)しかし、声の安定感ではアサワも含めてカウンターテナーの方が優れているように感じるので、落ち着いて聴くには丁度いいかもしれないと思っています。下記３曲が特に気に入っています。５．パヴァーヌop.50 (フォーレ)１３．ブラジル風バッハ第5番~アリア(カンティレーナ) (ヴィラ＝ロボス)１８．ヴォカリーズop.34-14 (ラフマニノフ)