Serenade

1	Adelaide, song for voice
2	Der Tod und das Mädchen (
3	Auf dem Wasser zu singen
4	Nacht und Träume (Heil'ge
5	Adelaide ("Einsam wandelt
6	Selve amiche
7	Paride ed Elena, opera in
8	Intorno all'idol mio (sop
9	Pur dicesti, o bocco bell
10	L'absent, song for voice
11	Où voulez-vous aller?, so
12	Absence, song for voice &
13	Sérénade, for voice & pia
14	Orpheus with his Lute, so
15	Linden Lea, song for voic
16	Hands, Eyes and Heart, so
17	C'est ainsi que tu es ("T
18	Priez pour paix, song for
19	Chansons gaillardes, song
20	Sweeter than roses (from
21	I'll sail upon the dog-st
22	Now that the sun hath vei
Serenade
1.	Song for voice & piano "Adelaide" Op. 46 6:32
	Composed by Ludwig van Beethoven
	Performed by David Daniels [countertenor] and Martin Katz
2.	Der Tod und das Mädchen, for voice & piano in D Minor, Op 7/3/D 531 2:36
	Composed by Franz Schubert
	Performed by David Daniels [countertenor] and Martin Katz
3.	Auf dem Wasser zu singen for voice & piano, Op.72, D774 3:34
	Composed by Franz Schubert
	Performed by David Daniels [countertenor] and Martin Katz
4.	Nacht und Träume (Heil'ge Nacht, du sinkest nieder!"), song for voice & piano, D. 827 (Op. 43/2) 4:02
	Composed by Franz Schubert
	Performed by David Daniels [countertenor] and Martin Katz
5.	Adelaide for voice & piano, D95 3:22
	Composed by Franz Schubert
	Performed by David Daniels [countertenor] and Martin Katz
6.	Selve amiche 3:01
	Composed by Antonio Caldara
	Performed by David Daniels [countertenor] and Martin Katz
7.	Paride ed Elena, opera in 5 acts, Wq. 39: O del mio dolce ardor 2:43
	Composed by Christoph Willibald Gluck
	Performed by David Daniels [countertenor] and Martin Katz
8.	Intorno all'idol mio 3:59
	Composed by Antonio Cesti
	Performed by David Daniels [countertenor] and Martin Katz
9.	Pur Dicesti, O Bocco Bella 3:22
	Composed by Antonio Lotti
	Performed by David Daniels [countertenor] and Martin Katz
10.	L' Absent for voice & piano 3:43
	Composed by Charles Gounod
	Performed by David Daniels [countertenor] and Martin Katz
11.	Où Voulez-Vous Allez? for voice, piano & violin (or cello or flute or harmonium) 2:50
	Composed by Charles Gounod
	Performed by David Daniels [countertenor] and Martin Katz
12.	Absence, song for voice & piano 3:10
	Composed by Charles Gounod
	Performed by David Daniels [countertenor] and Martin Katz
13.	Sérénade, for voice & piano with harmonium or cello ad lib. (and various arrangements; "Chantez, riez, dormez") 4:34
	Composed by Charles Gounod
	Performed by David Daniels [countertenor] and Martin Katz
14.	Orpheus with his Lute, song for voice & piano 3:16
	Composed by Ralph Vaughan Williams
	Performed by David Daniels [countertenor] and Martin Katz
15.	Linden Lea, song for voice & orchestra ("In Linden Lea;" "A Dorset Song") 2:32
	Composed by Ralph Vaughan Williams
	Performed by David Daniels [countertenor] and Martin Katz
16.	Hands, Eyes and Heart, song for voice & piano (Last Songs No. 3) 1:27
	Composed by Ralph Vaughan Williams
	Performed by David Daniels [countertenor] and Martin Katz
17.	C'est ainsi que tu es ("Ta chair, d'âme mêlée"), song for voice & piano (Métamorphoses), FP 121/2 2:41
	Composed by Francis Poulenc
	Performed by David Daniels [countertenor] and Martin Katz
18.	Priez pour paix, song for voice & piano, FP 95 2:41
	Composed by Francis Poulenc
	Performed by David Daniels [countertenor] and Martin Katz
19.	Chansons gaillardes, song cycle for voice & piano, FP 42: La belle Jeunesse 1:40
	Composed by Francis Poulenc
	Performed by David Daniels [countertenor] and Martin Katz
20.	Sweeter than roses (from "Pausanius"), song, Z. 585/1 3:30
	Composed by Henry Purcell
	Performed by David Daniels [countertenor] and Martin Katz
21.	I'll sail upon the dog-star (from "A Fool's Preferment"), song, Z. 571/6 1:12
	Composed by Henry Purcell
	Performed by David Daniels [countertenor] and Martin Katz
22.	Now that the sun hath veiled his light, sacred song for soprano & continuo, Z. 193 4:03
	Composed by Henry Purcell
	Performed by David Daniels [countertenor] and Martin Katz

Barnes & Noble

Until now, countertenor David Daniels has stuck to the customary repertory for the high male voice: baroque opera, especially Handel. But SERENADE, staking a claim on songs both familiar and obscure spanning four centuries and four languages, seems designed to prove just how wide-ranging this young singer's talents are. Daniels's almost uncannily beautiful voice adds another perspective to the lieder of Schubert and the mélodies of Poulenc (which have already been interpreted by baritones, sopranos, and everyone else in between). The result seems all the more unique -- and universal -- for its hybrid of the masculine and the feminine. The Italian baroque songs by Caldara, Cesti, and Lotti play to Daniels's demonstrated strengths, with their often florid embellishments. Elsewhere, his voice glows radiantly in the many gentle selections that allow him to linger serenely on expansive phrases: Schubert's "Nacht und Träme," Gounod's "Absence," and perhaps best of all, Vaughan Williams's "Orpheus with his lute." Although some more robust songs are included for variety, the overall mood is one of tranquility, with a recurrent undertone of romantic nostalgia. The lyrical impulse is paramount in this recital, and Daniels -- joined by the equally versatile Martin Katz on piano -- is as well-equipped as any singer today to express these melodious sentiments with the utmost subtlety. Scott Paulin

All Music Guide

Michigan-trained countertenor David Daniels broke through to a wide audience partly as a result of this 2000 recording, issued soon after he made his Metropolitan Opera debut. Daniels fearlessly plunged beyond the Baroque and Renaissance repertory into the Romantic era and even the early twentieth century, becoming essentially the first countertenor to do so. When it comes to Daniels' encounters with the individual composers represented on the disc, your mileage, as the phrase goes, may vary. However, it's hard to dispute the assertions that a) his voice was in one of those rare phases of fresh perfection that young singers sometimes hit on, and b) he had the personality to pull together what looks on the face of it like a set of material that's all over the musical map. Daniels is unlikely to start a trend among countertenors to record Schubert and Beethoven. His recordings of their songs here, with Schubert's "Adelaide" nicely chosen to balance Beethoven's setting, are certainly not unattractive, but the listener has a big hump of conceptual confusion to get over. With Vaughan Williams and Poulenc, however, Daniels is in a more comfortable situation. The biggest surprise is with Gounod, who certainly would not have been ready to hear a male soprano. But the sheer beauty of Daniels' vocal lines would have blown him away, and one suspects that Daniels was well aware of his strength here; four Gounod songs make an unorthodox choice for a varied vocal recital, but by the end of the group you may be hypnotized. The pieces from the more conventional countertenor repertory of the seventeenth and eighteenth centuries here are in the nature of breathers framing the more unorthodox repertory. A minor flaw: the mastering of the varied forces is inadequate. This is a disc that belongs in any collection of countertenor singing, and its release in a budget line is welcome. James Manheim