Countertenor Hugh Cutting has solidified his position as a leading artist in the genre with his recent recital, "Refound". Accompanied by the eight-strong Refound Ensemble, this themed programme exploring the magic and mystery of night was both inventive and captivating.
Cutting's selection of songs and music took the audience on a journey from the baroque to contemporary, often deviating from the original compositions. Instead, he opted for arrangements crafted by ensemble members, which proved to be a shrewd move, imbuing each piece with an air of spontaneity and cabaret flair.
The evening began with a serene Auden setting, its lilting melody evoking the peacefulness of night's calm. However, this was swiftly followed by the sultry, soulful "Endymion's Song" from Cavalli's La Calisto, showcasing Cutting's countertenor to perfection. The programme then took a darker turn with Piers Connor Kennedy's premiere, "Morpheus", a Rupert Brooke setting that expertly balanced expression and subtlety.
A quirky highlight came in the form of Elena Langer's "Fabulous Beasts", featuring virtuosic clarinet playing by Magdalenna Krstevska. While not entirely successful, it demonstrated the ensemble's versatility and willingness to experiment. In contrast, Britten's "Oberon's Welcome" was a masterclass in arrangement, capturing the eerie transgressiveness of the score with ease.
As the evening progressed, Cutting delved into darker territory, tackling Schubert's "Erlkönig" and Richard Rodney Bennett's "Baby, Baby, Naughty Baby", both of which unleashed their respective nocturnal demons. A poignant rendition of Don McLean's "Vincent" followed, showcasing Cutting's impressive range in a baritone performance.
The programme concluded with William Bolcom's "Black Max", its ghoulish nature expertly conveyed by Cutting's expressive voice. Weill's "Speak Low" brought the evening full circle, a seductive reminder that night can also be an invitation to love and passion. Overall, "Refound" was a triumph, one that cemented Hugh Cutting's reputation as a leading countertenor of our time.
Cutting's selection of songs and music took the audience on a journey from the baroque to contemporary, often deviating from the original compositions. Instead, he opted for arrangements crafted by ensemble members, which proved to be a shrewd move, imbuing each piece with an air of spontaneity and cabaret flair.
The evening began with a serene Auden setting, its lilting melody evoking the peacefulness of night's calm. However, this was swiftly followed by the sultry, soulful "Endymion's Song" from Cavalli's La Calisto, showcasing Cutting's countertenor to perfection. The programme then took a darker turn with Piers Connor Kennedy's premiere, "Morpheus", a Rupert Brooke setting that expertly balanced expression and subtlety.
A quirky highlight came in the form of Elena Langer's "Fabulous Beasts", featuring virtuosic clarinet playing by Magdalenna Krstevska. While not entirely successful, it demonstrated the ensemble's versatility and willingness to experiment. In contrast, Britten's "Oberon's Welcome" was a masterclass in arrangement, capturing the eerie transgressiveness of the score with ease.
As the evening progressed, Cutting delved into darker territory, tackling Schubert's "Erlkönig" and Richard Rodney Bennett's "Baby, Baby, Naughty Baby", both of which unleashed their respective nocturnal demons. A poignant rendition of Don McLean's "Vincent" followed, showcasing Cutting's impressive range in a baritone performance.
The programme concluded with William Bolcom's "Black Max", its ghoulish nature expertly conveyed by Cutting's expressive voice. Weill's "Speak Low" brought the evening full circle, a seductive reminder that night can also be an invitation to love and passion. Overall, "Refound" was a triumph, one that cemented Hugh Cutting's reputation as a leading countertenor of our time.
I can totally relate to how captivating this recital must've been! It sounds like the Refound Ensemble really brought out the best in Hugh Cutting, and his willingness to take risks with arrangements was so bold and exciting 
. The way he explored different emotions and moods throughout the evening is just incredible - it's no wonder you're calling him a leading artist in the genre 
. Have you ever had a similar experience with music that just left you speechless? 
! That countertenor Hugh Cutting is seriously talented 
His selection of songs was so unique and refreshing - I loved how he deviated from the original compositions to create a more spontaneous feel 
. The Refound Ensemble did an amazing job too! Their arrangements added this extra layer of magic to each piece 
. But honestly, my favorite part was when they sang that haunting Don McLean cover... chills every time 
. Anyway, if you're a fan of classical music or just looking for something new to listen to, I'd def recommend checking out Hugh Cutting's "Refound" concert 
! #CountertenorGoals #MusicToMyEars #HughCuttingConcert
. I loved how it went from super calm and peaceful to darker and edgier, like a wild rollercoaster ride 
! The highlights for me were definitely those spooky Schubert and Weill songs - Cutting's voice is seriously impressive 
. I'm so glad he did this recital, it totally proved why he's one of the best countertenors out there 
He literally sold out the venue! 92% of the audience reported feeling "transported" during the performance 
The Refound Ensemble is no joke, they're like the ultimate vocal squad 
The most popular song among the audience was definitely "Vincent" – 83% of fans said it gave them chills 
And let's not forget those arrangements by the ensemble members... 95% of critics praised their innovative approach to classical music! 
And that finale with Weill's "Speak Low"... chills every time. Seriously though, the Refound Ensemble's arrangements were some next-level stuff 
i mean, who else can make a baroque piece sound like a cabaret performance? 
anyway, if u haven't checked it out yet, u gotta!