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Topic: John Mark Ainsley

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	classical music - andante - vaughan williams: ten blake songs, on wenlock edge and other works
		John Mark Ainsley is a fine singer, intelligent and musical, but his interpretative art seems more consistently suited to the later Vaughan Williams songs than to some of the composer's earlier works.
		Where Ainsley fails here is in projecting the text at the expense of the musical line itself; the result is that the settings come across as being, frankly, lumpy, as the words are inconsistently sung - vowels and syllables being exaggerated for no apparent reason.
		Ainsley is wise not to allow his performance to become too arch, too Edwardian - attempting to impart spurious authenticity - and his direct yet thoughtful singing, aided by a slightly better balanced recording than in some of the other works, adds greatly to an impressive realization of this incontrovertible masterpiece.
	www.andante.com /magazine/article.cfm?id=12951 (585 words)

	Askonas Holt: John Mark Ainsley (Site not responding. Last check: 2007-10-08)
		John Mark Ainsley is receiving a wonderful response to his performances as Britten’s ‘Madwoman’ in ‘The Curlew River’ at the Bockenheimer Depot, Frankfurt...
		John Mark Ainsley enjoyed an extraordinary autumn, performing in cities across Europe and the United States...
		John Mark Ainsley takes part in two simultaneous operas in Germany and continues on to London, Amsterdam and Japan...
	www.askonasholt.co.uk /Green/Green/home.nsf/LinkSelect?OpenForm&634F84E12A26C09680256ABF003AA714___News (168 words)

	John Mark Ainsley in interview with Melanie Eskenazi (Site not responding. Last check: 2007-10-08)
		Ainsley has just made his Covent Garden debut in that role and I asked him why that debut has come so relatively late in his career (he is 38).
		Ainsley is definitely one of that rare breed, a tenor who sees opera as a 'gesämtkunstwerk' and not merely a vehicle for his own performance, so I was interested to hear his views on avant-garde productions.
		John Mark describes himself as a 'quasi French speaker' who is just beginning his odyssey through French song, an area in which he already excels.
	www.musicweb.uk.net /SandH/2002/Mar02/Ainsley.htm (2098 words)

	John Mark Ainsley (Site not responding. Last check: 2007-10-08)
		Since leaving Oxford in 1985, John Mark Ainsley has established a reputation as one of Britain's most exciting singers of the new generation.
		In 1990 John Mark Ainsley made his American début with concerts in New York and Boston.
		John Mark Ainsley's early operatic engagements included Idamante with the Welsh National Opera, Fenton with Scottish Opera, and Don Ottavio at the Aix-en-Provence and Glyndebourne Festivals.
	www.concertartist.info /biog/AIN001.html (295 words)

	EARLY MUSIC REVIEW: Magnificent Offering By Anna Carol Dudley (Philharmonia Baroque Orchestra, John Mark Ainsley, ...
		The character of Jephtha — a man of virtue and valor, fierce in battle and soft in his love for his wife and daughter — is wonderfully described in Handel's music and magnificently realized in John Mark Ainsley's performance.
		The recitative addressed to his daughter, "Deeper, and deeper still," is Handel at his most psychologically penetrating, and Ainsley's singing of it was immensely moving.
		She conveyed vividly the emotions of a wife sending her husband to war, and a mother oppressed by nightmares and finally pleading for her daughter's life.
	www.sfcv.org /arts_revs/philbaroque_9_16_03.php (921 words)

	Lubin swims smoothly through Schubert release
		Six other songs are included, too, with tenor John Mark Ainsley joining Lubin to complete a delightful Schubertiade, such as might have taken place in a home at Schubert's time.
		Ainsley doesn't begin as lightly as Fisher-Dieskau -- I find his opening verse a tad heavy -- and doesn't find the powerful contrasts DFD so astonishingly fathoms.
		Ainsley is certainly lyrical, but his drama is suppressed when compared to Fischer-Dieskau's.
	www-tech.mit.edu /V113/N57/schubert.57a.html (814 words)

	Review of Britten: Serenade for Tenor, Horn and Strings/David Pyatt
		Ainsley's true, centred sound is a source of great refinement.
		Technically, John Mark Ainsley is equal to the demands of all three cycles.
		Ainsley is most effective in the Serenade, and well partnered by David Pyatt, who sets the twilight mood very effectively in the opening solo 'Prologue'.
	www.hornplayer.net /archive/a23.html (847 words)

	Artist Page - John Mark Ainsley
		John Mark Ainsley was born in Cheshire and began his musical training in Oxford.
		In 1993 he made his debut in the Vienna Musikverein, singing ‘St Matthew Passion’ and ‘St John Passion’ under Peter Schreier.
		He has appeared with the London Philharmonic under Norrington, the London Symphony under Sir Colin Davis, Rostropovich and Previn, Les Musiciens du Louvre under Minkowski, the Cleveland Orchestra under Welser-Moest, the Berlin Philharmonic under Haitink and Rattle and the New York Philharmonic under Masur.
	www.hyperion-records.co.uk /artist_page.asp?name=ainsley (782 words)

	Results for 'ainsley' on BuyCentral (Site not responding. Last check: 2007-10-08)
		For the main course Ainsley has a whole host of suggestions from Fresh Charred Tuna Steak with Salsa Verde to the warming Clare's Winter-vegetable Cobbler.
		Ainsley Harriott the master of speedy cooking is back with an all-new collection of delicious...
		Ainsley's Friends and Family Cookbook also contains step-by-step sequences to make particular techniques even more straightforward lots of alternatives for everyday recipes like pizza and pasta and plenty of low-fat dishes if you are watching what you eat.
	www.buycentral.co.uk /qsh/ainsley.html (680 words)

	classical music - andante - berlioz: grande messe des morts [requiem], op. 5. cinq pièces sacrées.
		John Mark Ainsley (tenor); Montreal Symphony Chorus and Orchestra/Charles Dutoit.
		Those conductors who shirk the risks are always the ones delivering the least — who dares, wins and among those settling for a fatal smoothness are Seiji Ozawa and James Levine.
		Earlier, there can be a timidity that has the opening 'Requiem aeternam' and Kyrie too rigid, with the rhythm constricted and failing to breathe, and that loses the snap and urgency of the 'Lacrymosa' and the exultant, ferocious thrust of the 'Rex tremendae': where is the sheer horror of 'de profundo lacu'?
	andante.com /article/article.cfm?id=12820&highlight=1&...&lstKeywords= (571 words)

	NewOlde.com - George Friederic Handel's Oratorios, Serenatas, Anthems and Masques - Recommended Recordings, New ...
		Galatea: Claron McFadden, Acis: John Mark Ainsley, Damon and Coridon: Rogers Covey-Crump, Polyphemus: Michael George, alto: Robert Harre-Jones.
		While most conductors would be delighted to have such precise historical information, Jacobs completely ignores Handel's continuo markings, adding the organ to movements where it is supposed to be silent and changing the registration in other movements.
		John Mark Ainsley, Dominique Labelle, Wilke te Brummelstroete, Franz Vitzthum, William Berger, Netta Or.
	www.newolde.com /handel_oratorios.htm (2785 words)

	John Mark Ainsley (Tenor) - Short Biography
		The English tenor, John Mark Ainsley, began his musical training in Oxford and continues to study with Diane Forlano.
		In 1993 he made his début in the Vienna Musikverein, singing the St Matthew (BWV 244) and St John Passions (BWV 245) under Peter Schreier.
		The role of the Evangelist in Bach’s Passions remains one of the main staples of John Mark Ainsley’s repertory.
	www.bach-cantatas.com /Bio/Ainsley-John-Mark.htm (179 words)

	Musica Viva Australia - 2004 - John Mark Ainsley with David Miller
		John Mark Ainsley has established a reputation as one of England`s most exciting younger tenors, appearing at the Edinburgh, Stuttgart and Vienna Festivals and with major British and European orchestras.
		His many recordings encompass repertoire from Monteverdi, Handel and Mozart (on which he has worked with some of the world`s foremost early music interpreters) through to Britten.
		In 1995, David Miller was appointed as a member of the Order of Australia (AM) for his services to music.
	www.mva.org.au /2004/performer.asp?id=20 (161 words)

	BBC - Proms - Review: 2 August Prom 25 (Site not responding. Last check: 2007-10-08)
		But the Americans might have been smoother in Handel, whose Water Music chugged along in the F major suite without quite scaling the festive heights the piece was intended for, and John Mark Ainsley was far more effective in plangent Rameau than the sturdy Handel arias the light-voiced tenor was allotted
		I thought this Prom was one of the best I have heard with a different, but pleasant approach to the Water Music suite, much lighter and smoother than other orchestras' interpretations of the piece.
		John Mark Ainsley was superb as always with an amazing rendition of 'His Mighty Arm' from Jephtha.
	www.bbc.co.uk /proms/reviews/02auga.shtml (310 words)

	NPR's SymphonyCast: Biography of John Mark Ainsley (Site not responding. Last check: 2007-10-08)
		Making his ASO debut with these concerts, John Mark Ainsley was born in Cheshire, began his musical training in Oxford and continues to study with Diane Forlano.
		For Deutsche Grammophon his recent releases include Handel's Resurezzione, Rameau's Dardanus, and Handel's Messiah with Minkowski, the Britten Spring Symphony with Gardiner, and L'Heure espagnole with Previn.
		Ainsley's early operatic engagements included Idamantes in Idomeneo with the Welsh National Opera, Fenton in Falstaff with Scottish Opera, and Don Ottavio at the Aix en Provence and Glyndebourne Festivals.
	www.npr.org /programs/symphonycast/bios/ainsley.html (381 words)

	Songs by Roger Quilter \| Roger Quilter, Malcolm Martineau, ... \| A great listen!
		John Mark Ainsley has an exceptional voice: warm, rich, and robust but without the ringing quality of Ian Bostridge's.
		The songs on the CD are all wonderful, especially "Come away, death." I definitely recommend the album.
		John Mark Ainsley treats each song, and his audience, with repsect.
	www.this-is-great.com /info/xbfffffsxz-xz (456 words)

	SYMPHONY REVIEW: Brilliant Liszt, Splendid Performance By William Wellborn (San Francisco Symphony, Roger Norrington, ...
		The single-movement Totentanz is cast as a set of variations for piano and orchestra, the theme being derived from the well-known medieval death chant Dies irae.
		The simple beauty of the Gretchen movement was a marked contrast to the Faust's angst in the first movement.
		To hold this massive seventy-minute work together is no small feat, and Norrington is to be commended for his masterful presentation of this neglected masterpiece.
	www.sfcv.org /arts_revs/sfsym_1_22_02.php (811 words)

	Gramophone - Gramofile - The world's best classical music magazine
		The broad, open phrasing in the ''Laudamus te'', with the leaps true and the semiquaver runs perfectly placed, is a delight; and the interplay of solo voices, with Lynne Dawson's more grainy one in the ''Domine Deus'', and in the ''Quoniam'' trio with the admirable tenor of John Mark Ainsley too, is always pleasing.
		Auger's singing, in any case, is beautiful; it is traditional to call this music 'operatic', but that is to my mind based on a misapprehension of style, and her reading of it seems to me deely expressive without in any way transgressing the proper limits of sacred music.
		There is already, of course, an excellent version of this work with period instruments, under John Eliot Gardiner on Philips (the other, under Harnoncourt—Teldec—has good things too but seems to me to be constantly striving for effect rather than responding to the music).
	www.gramophone.co.uk /gramofilereview.asp?reviewID=9007085&mediaID=42512 (646 words)

	Amazon.com: Rameau - Dardanus / Ainsley, Gens, Naouri, Delunsch, Courtis, Kozena, Les Musiciens du Louvre, Minkowski: ... (Site not responding. Last check: 2007-10-08)
		Consider the vocal acting of Véronique Gens as the conflicted heroine Iphise (in love with her father's enemy), with its rich emotional involvement; there's an exciting chemistry between her and the title hero John Mark Ainsley, who gently tapers his vibrato into a beautifully nuanced tenor--now forlorn and outcast, now assertively heroic.
		John Mark Ainsley is certainly a better Rameau tenor than Jose Cura is a Puccini one.
		The finest singing on the recording is, appropriately, by the Dardanus, John Mark Ainsley, who takes himself completely seriously in the role - there is none of the tongue-in-cheek attitude that afflicts some singers in such parts, and he is equally credible as the conquering hero and the forlorn lover.
	www.amazon.com /Rameau-Dardanus-Delunsch-Musiciens-Minkowski/dp/B00004R9F6 (2147 words)

	Classical Net Review - Finzi - Violin Concerto, etc.
		I think he's inherited Boult's mantle as an advocate for a certain type of British music - the Vaughan Williams wing - although he also does well with Britten, Walton, and Tippett.
		John Mark Ainsley is a Gerald English tenor, rather than a Richard Lewis or Peter Pears one.
		At this point, however, it amounts to little more than an imported affectation from Italian opera - something Finzi really doesn't need - and Ainsley can do something about it, before it becomes an ingrained habit.
	www.classical.net /music/recs/reviews/c/cha09888a.html (834 words)

	Music
		Ainsley; Kirkby; Thomas; Finley; Williams; Bott; Crabtree; Podger; Berridge; Parker
		The orchestral playing is crisp and transparent (as in the Symphony of Act 2), the Academy of Ancient Music’s articulation allowing the integrity of the inner parts to be heard to the full without compromising blend.
		Amongst a distinguished line-up of singers, John Mark Ainsley gets the lion’s share and is perhaps marginally more effective as the Indian Boy than as Fame, but such gloriously mellifluous and controlled singing can only enhance the reputation of this work.
	plaza.ufl.edu /danahill/details/14413.html (751 words)

	Berlioz Choral/Orch. works
		Susan Graham, soprano; Susanne Mentzer, mezzo-soprano; John Mark Ainsley, tenor; Philip Cokorinos, baritone; Pierre Vincent Plante, cor nglais; Davis Joachim, guitar; Françoix Le Roux, baritone; Philippe Rouillon, bass; Gordon Gietz, tenor; Montreal Symphony Orchestra and Chorus/Charles Dutoit, cond.
		What’s here, therefore, amounts to more than a curio, and is sung by and large most touchingly, especially by soprano Susan Graham, mezzo-soprano Susanne Mentzer (as Marguerite), and tenor John Mark Ainsley.
		They are joined later on in additional repertoire, including Berlioz’s massive 1830 setting of “La Marseillais” (extra stanzas here than EMI gave us in Roberto Alagna’s Berlioz recital last year, only one of which is sung by tenor Gordon Gietz rather than all, as Alagna did strenuously with increasing vocal strain).
	classicalcdreview.com /hbhuit.html (706 words)

	Performing Arts Library - New Acquisitions, UM Libraries (Site not responding. Last check: 2007-10-08)
		Mark O’Connor, violin; Concordia Orchestra; Marin Alsop, conductor (1st work); Daniel Phillips, viola; Carter Brey, violoncello; Edgar Meyer, double bass (2nd work).
		Toccaten, Suiten, Lamenti: Die Handschrift SA 4450 der Sing-Akademie zu Berlin = The manuscript SA 4450 from the Sing-Akademie zu Berlin / Johann Jacob Froberger; Faksimile und Übertragung herausgegeben von = facsimile and transcription edited by Peter Wollny and the Sing-Akademie zu Berlin.
		The relapse; The provoked wife; The confederacy; A journey to London; The country house / John Vanbrugh; edited with an introduction and notes by Brean Hammond.
	www.lib.umd.edu /PAL/acqapr05.html (3166 words)

	Schola Cantorum of Oxford Home Page (Site not responding. Last check: 2007-10-08)
		The Old Members garden party was held on 2nd June 2001 to welcome the new Patrons (John Mark Ainsley, Emma Kirkby, Andrew Parrott) and Trustees (Emily Bradshaw, Nick Harries).
		John Mark also sang the tenor solos in a performance of Kenneth Leighton's Crucifixus to help promote one of the choir's latest CDs of music by Leighton and Vaughan Williams.
		We were also honoured to have Jo Leighton, Kenneth's widow, as a guest at this concert.
	users.ox.ac.uk /~schola/html/oldmembers.html (405 words)

	Johannes-Passion BWV 245 - conducted by Stephen Cleobury
		John Mark Ainsley shows himself to be a fine evangelist, though his diction is questionable at times.
		But he does put a great deal of emotion into his singing, and is certainly one of the best parts of this recording.
		While it lacks the profound emotion of the recent Suzuki DVD of this work, it is a bargain at its low price, and should not disappoint anyone familiar with this great sacred work.
	www.bach-cantatas.com /Vocal/BWV245-Cleobury.htm (568 words)

	Amazon.com: Stravinsky:Symphony of Psalms/Mass/Canticum Sacrum: Music: Stephen Roberts [baritone],Adrian Peacock,Igor ... (Site not responding. Last check: 2007-10-08)
		I agree with Mark Swinton here, that both the choir and the orchestra are brilliant in the Symphony of Psalms.
		Mark Swinton is also perfectly correct, that these performances are superior to the documents Stravinsky himself managed to leave.
		Stravinsky's sacred music marks him out as a true original, and on this CD the Westminster Cathedral Choir (as is so often their way) make a strong case for some of his better known cantatas and miniatures in the genre.
	www.amazon.com /Stravinsky-Symphony-Psalms-Canticum-Sacrum/dp/B000002ZO4 (1998 words)

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