Iestyn Davies


After graduating in Archaeology and Anthropology from St John’s College, Cambridge Iestyn Davies studied at the Royal Academy of Music, London. 

On the opera stage, he has appeared at the Metropolitan Opera, New York; the Chicago Lyric Opera; La Scala Milan; the Royal Opera House, Covent Garden; English National Opera; Glyndebourne Festival Opera; Welsh National Opera, and in Munich, Vienna and Zurich. 

Concert highlights include performances at La Scala Milan; the Concertgebouw, Amsterdam; Tonhalle, Zurich; the Théâtre des Champs-Élysées, Paris; Lincoln Centre, New York and the BBC Proms. He has appeared in concert and recital at Carnegie Hall and regularly appears at Wigmore Hall, where he has curated his own Residency. He recently delighted London theatre audiences singing the role of Farinelli, in Farinelli and the King with Mark Rylance at the Globe Theatre and subsequently on the West End stage at the Duke of York’s theatre. 

A prolific recording artist, he is the recipient of the Royal Philharmonic Society’s 2010 Young Artist of the year prize, the 2012 Gramophone Recital Award, the 2013 Critics’ Circle Awards for Exceptional Young Talent (Singer) and the 2014 Gramophone Recital Award for his disc Arise, my muse on the Wigmore Live label.

For an up-to-date biography, please contact Henry Lindsay

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    In darkness let me dwell


Royal Opera House, LONDON

George Benjamin : Written on Skin

The Protector: Christopher Purves
Agnès: Barbara Hannigan
Angel 1 / The Boy: IESTYN DAVIES
Angel 2 / Marie: Victoria Simmonds
Angel 3 / John: Mark Padmore

Royal Opera House Orchestra
Vasko Vassilev, Concertmaster

Royal Opera House, LONDON

George Benjamin : Written on Skin

The Protector: Christopher Purves
Agnès: Georgia Jarman
Angel 1 / The Boy: IESTYN DAVIES
Angel 2 / Marie: Victoria Simmonds
Angel 3 / John: Mark Padmore

Royal Opera House Orchestra
Vasko Vassilev, Concertmaster

Royal Opera House, LONDON

George Benjamin : Written on Skin

The Protector: Christopher Purves
Agnès: Barbara Hannigan
Angel 1 / The Boy: IESTYN DAVIES
Angel 2 / Marie: Victoria Simmonds
Angel 3 / John: Mark Padmore

Royal Opera House Orchestra
Vasko Vassilev, Concertmaster

Biblioteca Luiz Angel Arango, Bogota

Behold a Wonder Here
All Ye Whom Love or Fortune Hath Betrayed
Come Away, Come Sweet Love

(Lute solos, Thomas Dunford)
A Dream
A Fancy

Say Love if Ever thou didst find
Go Crystal Tears

(Lute solo, Thomas Dunford)

I Saw My Lady Weep
Flow My Tears
Sorrow Stay

*** Interval ***

Come Again Sweet Love
My Thoughts Are Wing’d With Hopes

(Lute solo, Thomas Dunford)
The King of Denmark’s Galliard

Can She Excuse My Wrongs
In Darkness Let Me Dwell

(Lute solo, Thomas Dunford)
Semper Dolens Semper Dowland

Time Stands Still
Now, O Now My Needs Must Part (including the Frog Galliard solo)

Lute: Thomas Dunford

Bing Concert Hall, STANFORD

HANDEL Concerto Grosso in F major, Op.3, No.4 (first movement)
HANDEL 'Oh Lord Whose Mercies Numberless' from 'Saul'
HASSE ‘Ah Che dissi’…’Se resto sul lido’ from 'Didone abbandonata'
ZELENKA Suite in A minor, ZWV 189
ARNE 'Vengeance, O come inspire me' from 'Alfred'
GLUCK 'Ah non turbi il mio riposo' from 'Telemaco'
HANDEL Sweet Rose and Lily from 'Theodora'
CPE BACH String Symphony in E major, Wq 182/6
GLUCK 'Che puro ciel' from 'Orfeo ed Euridice'
GLUCK Dance of the blessed spirits from 'Orfeo ed Euridice'
GLUCK 'Recit & Aria Ahimè...Che farò' from 'Orfeo ed Euridice'

Philharmonia Baroque
Iestyn Davies, countertenor

Herbst Theatre, SAN FRANCISCO

HANDEL Concerto Grosso in F major, Op.3, No.4 (first movement)
HANDEL 'Oh Lord Whose Mercies Numberless' from 'Saul'
HASSE ‘Ah Che dissi’…’Se resto sul lido’ from 'Didone abbandonata'
ZELENKA Suite in A minor, ZWV 189
ARNE 'Vengeance, O come inspire me' from 'Alfred'
GLUCK 'Ah non turbi il mio riposo' from 'Telemaco'
HANDEL Sweet Rose and Lily from 'Theodora'
CPE BACH String Symphony in E major, Wq 182/6
GLUCK 'Che puro ciel' from 'Orfeo ed Euridice'
GLUCK Dance of the blessed spirits from 'Orfeo ed Euridice'
GLUCK 'Recit & Aria Ahimè...Che farò' from 'Orfeo ed Euridice'

Philharmonia Baroque
Iestyn Davies, countertenor

First Congregational Church of Berkeley, BERKELEY

HANDEL Concerto Grosso in F major, Op.3, No.4 (first movement)
HANDEL 'Oh Lord Whose Mercies Numberless' from 'Saul'
HASSE ‘Ah Che dissi’…’Se resto sul lido’ from 'Didone abbandonata'
ZELENKA Suite in A minor, ZWV 189
ARNE 'Vengeance, O come inspire me' from 'Alfred'
GLUCK 'Ah non turbi il mio riposo' from 'Telemaco'
HANDEL Sweet Rose and Lily from 'Theodora'
CPE BACH String Symphony in E major, Wq 182/6
GLUCK 'Che puro ciel' from 'Orfeo ed Euridice'
GLUCK Dance of the blessed spirits from 'Orfeo ed Euridice'
GLUCK 'Recit & Aria Ahimè...Che farò' from 'Orfeo ed Euridice'

Philharmonia Baroque
Iestyn Davies, countertenor

First Congregational Church of Berkeley, BERKELEY

HANDEL Concerto Grosso in F major, Op.3, No.4 (first movement)
HANDEL 'Oh Lord Whose Mercies Numberless' from 'Saul'
HASSE ‘Ah Che dissi’…’Se resto sul lido’ from 'Didone abbandonata'
ZELENKA Suite in A minor, ZWV 189
ARNE 'Vengeance, O come inspire me' from 'Alfred'
GLUCK 'Ah non turbi il mio riposo' from 'Telemaco'
HANDEL Sweet Rose and Lily from 'Theodora'
CPE BACH String Symphony in E major, Wq 182/6
GLUCK 'Che puro ciel' from 'Orfeo ed Euridice'
GLUCK Dance of the blessed spirits from 'Orfeo ed Euridice'
GLUCK 'Recit & Aria Ahimè...Che farò' from 'Orfeo ed Euridice'

Philharmonia Baroque
Iestyn Davies, countertenor

Royal Festival Hall, LONDON

J.S. BACH St Matthew Passion, BWV 244

Conductor: David Hill

Christ: Matthew Best
Soprano: Sarah Tynan
Baritone: Roderick Williams

Bach Choir

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The Messiah

Les Violons du Roy

"Iestyn Davies breathed a luminous shine"

"Iestyn Davies insufflait un éclat lumineux" Josianne Desloges, La Presse, 9th December 2016
"[Iestyn Davies] a touching presence, beautiful and intense, all in nuances and subtleties with his beautiful voice."

"Le contre-ténor Iestyn Davies s’est illustré par une présence touchante, belle et intense, toute en nuances et subtilités avec sa voix de toute beauté."
Jacques Leclerc, Info Culture, 10th December 2016


Recital with Thomas Dunford

Wigmore Hall

'Davies’ delivery was pristine and unassuming: musically stylised but without undue fussiness, the text always clearly defined. His countertenor was finely coloured and firm of weight; the melodic lines had beguiling lyrical grace and directness.'...'‘Come again, sweet love doth now invite’ was the epitome of courtly grace. Davies’ tone was sweet and pure, the phrasing beautifully controlled. The contrast between silky vocal line and vivacious lute was wonderfully expressive.'...'The delicate rendering of Clapton’s gentle musings was spellbinding, concluding a wonderful recital characterised by an unpretentious intensity that was truly magical.' Claire Seymour, Opera Today, 12th November 2016

Recital with Thomas Dunford

Dora Stoutzker Hall, Royal Welsh College of Music and Drama

"To my mind, at least, no singer of recent years has been so identified with the songs of John Dowland as Iestyn Davies has. He inhabits and articulates these songs with remarkable intimacy, control and expressiveness."
"Davies brings a great understanding of how poetry works to his performances of Dowland, as well as utter clarity of diction and a degree and manner of expressiveness well attuned to the ‘mannered’ quality of Dowland’s art."
"This performance seemed to concentrate and focus the entire audience’s attention throughout, in a way that not many concerts have ever done in my experience."
Seen and Heard/ Glyn Pursglove


The Fairy Queen

Academy of Ancient Music, Barbican Centre

'The star attraction was our great counter-tenor Iestyn Davies.'...'Iestyn Davies is an absolute treat' Rupert Christiansen, The Telegraph, 11th October 2016
‘the cast produced some divine singing, as each performer completely embraced the concept and conveyed their enthusiasm to the audience’  MusicOMH/ Sam Smith
‘Davies sounds ravishing in One Charming Night'  The Guardian/ Tim Ashley
‘there was glamour in the Act IV Overture, smarting with natural trumpets and kettledrums; beguilement in the recorder and baroque guitar accompaniment to Davies’ sinuous One Charming night’  The Times/ Anna Picard
‘the evening was a delightful succession of phantasmagoric tableaux’ The Independent/ Cara Chanteau
‘he sang with his customary precision and warmth of tone, allied with close attention to the enunciation of the text’  The Classical Source/ Curtis Rogers
'Iestyn Davies... evinced grace and nobility…his superb vocal control shone through’ Opera Today/ Claire Seymour
Iestyn Davies was his usual expert self Opera Now, December 2016

BBC Proms - 5th September 2016

Cadogan Hall

'Davies’ performance of Scheidend was absolutely stunning:  exquisite legato phrases were sung in an effortless way with Davies investing every word with a rich emotional resonance.'...Davies gave us dazzling, crisply articulated coloratura runs while both singers showed enormous vocal agility in the final section of the song.'...Davies took centre stage for Music for a while which he sang with a rapt beauty of tone and impeccable diction. '...'Overall, this was superlative music making of the highest order – bravo to all the performers!' Robert Beattie, Seen and Heard, 7th September 2016
Soprano Carolyn Sampson, countertenor Iestyn Davies, and pianist Joseph Middleton gave a lunchtime Prom at the Cadogan Hall which was chamber music of the highest quality.  Michael Church, The Independent, 8th September 2016


The Exterminating Angel

Salzburg Festival

Cairns’s staging is as meticulously detailed as Adès’s score, while Hildegard Bechtler’s set, dominated by the giant portal of the room from which there seems no escape, is sensibly spare. And the Salzburg cast is superb, dominated by three generations of British singers, with Thomas Allen and John Tomlinson, Christine Rice, Charles Workman, Sally Matthews, Sophie Bevan, Iestyn Davies, as well as Anne Sofie von Otter, Amanda Echalaz and Audrey Luna. It’s a magnificent piece of ensemble work. Andrew Clements, The Guardian, 29th July 2016
Out of noisy, brassy eruptions, exquisite arias float up. Iestyn Davies sings a rapturous ode to coffee spoons Fiona Maddocks, The Guardian, 31st July 2016
Sally Matthews and Iestyn Davies negotiate some merciless music with skill’ Monika Ritterhaus, The Times, 1st August 2016
The vocal writing is tailor-made for the 22 top-drawer soloists…this is athletic, demanding music which is performed with polish and flair Shirley Apthorp, Financial Times, 29th July 2016
Two self-absorbed characters, Silvia, the Duchess of Avila, a young widowed mother worried about her boy at home, and her arrogant, idle brother, Francisco, are oddly sympathetic, especially as performed by the sweet-toned soprano Sally Matthews and the dynamic countertenor Iestyn Davies. Anthony Tommasini, New York Times, 29th July 2016
Making the most memorable impression are…countertenor Iestyn Davies as the neurotic sibling obsessed aristocrat Francisco de Avila David Nice, The Arts Desk, 3rd August 2016
Such is the sadism of the vocal score, you don’t immediately realise this is an all-star cast (Christine Rice, Iestyn Davies, Thomas Allen, John Tomlinson…). The work prohibits showing it off Igor Toronyi-Lalic, The Spectator, 4th August 2016
Iestyn Davies and British soprano Sophie Bevan grandly intoned the love death. Michael Milenski, Opera Today, 5h August 2016
Iestyn Davies' vocal performance offering in its inflections a strong sense of the conflict in the character's personality Mark Berry, Seen and Heard, 9th August 2016
The countertenor Iestyn Davies is funny, then disturbing, as a supercilious young socialite. Mark Swed, Los Angeles Times, 9th August 2016
Iestyn Davies was excellent as the impetuous Francisco de Avila Hugo Shirley, Opera Magazine, October 2016


Complete Songs of Fauré, Vol 1

Signum Classics

"Countertenor Iestyn Davies brings a beautiful limpidity to Lydia and Tristesse." Erica Jeal, The Guardian, 7th July 2016

London Baroque Music Festival Recital

St John's Smith Square

'Davies’s beautiful arioso line revealed the emotive strength of Humfrey’s melodic voice and a feeling for the accentuations of words to rival that of Humfrey’s pupil, Purcell.'...'This number afforded Davies the opportunity to demonstrate nimbleness and purity of sound as he negotiated the florid melodic line.' Claire Seymour, Opera Today, 17th May 2016



The Barbican, BBC Singers

Iestyn Davies gave a superb performance as David Sam Smith, Music OMH, 17th April 2016
'Iestyn Davies even reprised the role of David with his charismatic musical presence evinced through his suavely seamless singing and directness of expression, whether in the pulsing loveliness of ‘O Lord, whose mercies numberless’ or the more incisive passion of an urgent number such as in the duet ‘At persecution I laugh’.'...'Davies instilled drama into his realisation of David through his ability to characterise a role through intelligent musicianship rather than mannered gesture.' Curtis Rogers, Classical Source, 15th April 2016
'Iestyn Davies is a gentle, quiet and very human David, singing with great beauty and purity of tone' Parterre/ Henson Keys

George Benjamin

Dream of the Song

Barbican Centre, BBC Symphony Orchestra

 Iestyn Davies who, with a potent blend of fluidity and intensity, gave an impressive performance Claire Seymour, Opera Today, 20th March 2016
Iestyn Davies’ performance was at once both dreamy and hard-edged Bernard Hughes, The Arts Desk, 19th March 2016
Iestyn Davies was as restrained and as ardent as the music requires Richard Whitehouse, Classical Source, 18th March 2016
Davies' sweet, pure, steady voice Anna Picard, The Times, 21st March 2016
We hear silken violins, plaintive oboe and a countertenor part ideally suited, in this case, to Iestyn Davies’ translucent voice’  Hannah Nepil, The Financial Times, 21st March 2016
Benjamin’s music deftly reflected the haunting beauty of the verses, and the wistful but muscular countertenor lines found their ideal exponent in Davies.
John-Pierre Joyce, Music OMH, 21st March 2016
Davies delivered them with a curious mixture of reticence and resplendent tone The Sunday Times, 27th March 2016



The English Concert

Iestyn Davies took the title role with ease and effortless style Rebecca Franks, The Times, 2nd March 2016
Few countertenors spin a legato line with as much warmth or beauty as Iestyn Davies Alexandra Coghlan, The Arts Desk, 2nd March 2016
Iestyn Davies in the title role rattled off the rapid triplets of his suicidal frenzy, and was deeply affecting in his mad scene Barry Millington, The Evening Standard, 2nd March 2016
In terms of voice, he had all the right traits: technical athleticism, moments of startling power, but also of stillness Hannah Nepil, The Financial Times, 2nd March 2016
Davies’ hallucinating hero traverses a kaleidoscopic series of derangements, each with its own vividly-characterised musical colouring Michael Church, The Independent, 2nd March 2016
In the title-role was Iestyn Davies, surely just about supreme today in the castrato repertory. There’s no sense in his technique of the fey falseness of falsetto: the sound is produced with grace and ease, warmly coloured and subtly toned. In Orlando’s derangement, he was darkly melancholy, but elsewhere he was furiously virile too – the fireworks of “Fammi combattere” dazzled. In his artistry, the counter-tenor has truly come of age. Rupert Christiansen, The Telegraph, 2nd March 2016
'Iestyn Davies showed his familiar combination of technical brilliance and bravura in the fast, even passagework and the overall sense of drama with the technical being subservient to the dramatic moment.'...'Davies brought this out with a very musical but intensely personal performance.' Robert Hugill, Planet Hugill, 3rd March 2016
Iestyn Davies's performance cultivated a generally studied, lyrical beauty of tone Curtis Rogers, Classical Source, 1st March 2016
Iestyn Davies’ Orlando showcases a truly exquisite talent: Davies’ countertenor is so gorgeously legato and fluid that it sounds almost unearthly, yet the smoothness is seasoned with heartstopping, ferociously accurate coloratura which received explosive applause from the Barbican audience. Charlotte Valori, Bach Track, 2nd March 2016
Davies launched into the score’s astonishing prestissimo flights with relaxed ease and without any loss of focus. The breath control exhibited in his Act 2 aria, ‘Cielo! se tu il consenti deh! Fà’, was remarkable, and equalled by the fluid passagework of ‘Fammi combattere’; there was continuity of tone throughout the vocal extravagances, and the latter unfailingly served an expressive purpose. Claire Seymour, Opera Today, 3rd March 2016
'Davies’ voice was beautifully agile and sprung; indeed, Handel’s remarkable challenges to his singer seemed only to spur Davies on to greater heights'...'Davies was remarkable.' Colin Clarket, Seen and Heard, 4th March 2016
With brilliant vocals Davies brought the lovable anti-hero to life Martin Toet, Place de l'Opera, 9th March 2016
Pristine coloratura was in abundant supply all evening, not least from world-class countertenor Iestyn Davies as a guileless Orlando.  Jenny Camilleri, Opera Today, 10th March 2016
A cast headed by Britain's finest countertenor, Iestyn Davies, in the title role Opera Magazine, May 2016
The singers were superb. In a part written for the castrato Senesino, Iestyn Davies encompassed all Orlando's hop and despair, his finest moment coming at the end of Act 2, when Orlando goes mad in a scena that includes recitative, a ground bass, and a manic gavotte.  Early Music Today, June-August 2016


Green Mass

London Philharmonic Orchestra, Royal Festival Hall

Iestyn Davies brought clarity of tone and diction David Truslove, Classical Source, 30th January 2016
‘Iestyn Davies’ countertenor was a striking clarion at the top, always melodious as it negotiated the fragmentary melodic gestures of the Blake setting Claire Seymour, Opera Today, 1st February 2016



Royal Scottish National Orchestra

Magic man Davies utterly beguiled this listener with his spellbinding, steel-cored vocal purity. Michael Tumelty, Herald Scotland, 4th January 2016

Taverner and Tavener

Concert with Fretwork Ensemble

Kings Place

Iestyn Davies was similarly apparently effortless, singing with a lovely sense of ease. Robert Hugill, Planet Hugill, 20th December 2015
Iestyn Davies brought almost incomprehensible purity to the piece, singing with such clarity that at first his voice was barely distinguishable from the serene sound of the viols. Early Music Today, February 2016



The Barbican, Britten Sinfonia

[Iestyn’s] expressive ‘He was despised” was one of the evening’s highlights Colin Clarkte, Seen and Heard, 16th December 2015
 His da capo embellishments in ‘But who may abide the day of his coming’ had a thought through dramatic emphasis that transcended mere decoration. Mark Valencia, Classical Source, 15th December 2015



St Davids Hall, BBC National Orchestra of Wales

Davies’s countertenor was simply outstanding: the voice impeccably used, the purity of tone heart-stoppingly beautiful. This was consummate Handelian artistry. Rhian Evans, The Guardian, 9th December 2015
There was depth and feeling to countertenor Iestyn Davies' performance Peter Collins, Wales Online, 9th December 2015

Recital with Allan Clayton

Wigmore Hall

Last night’s Wigmore Hall recital by countertenor Iestyn Davies and tenor Allan Clayton, accompanied by James Baillieu, was an all-round triumph: brilliantly programmed, superbly sung and very thought-provoking. Bernard Hughes, The Arts Desk, 5th December 2015
Iestyn Davies reigns supreme among countertenors Michael Church, The Independent, 5th December 2015
Davies enchanted in Purcell’s sinuous “Music for a While” and aching “Sweeter than Roses” Rupert Christiansen, The Telegraph, 5th December 2015
There was also some of the most sheerly beautiful singing and playing to be heard from this generation of musicians. Anna Picard, The Times, 7th December 2015
We were able to appreciate the beauties of line and tone provided by Iestyn Davies, along with a superb attention to the words. Robert Hugill, Planet Hugill, 6th December 2015
'Davies communicated Isaac’s trusting innocence with heart-wringing clarity'...'Davies delivered with astonishing direction and focus, was almost overwhelmingly intense declaration of passion.' Claire Seymour, Opera Today, 6th December 2015
'Davies was highly responsive to the language and he demonstrated tremendous vocal agility towards the end of the song, keeping the lines exceptionally clean and the rhythms incisive.'...'Once again Davies and Clayton blended perfectly to create an aura of religious mysticism and there was some deft interweaving of the vocal lines.'...'Superb performances all round' Robert Beattie, Seen and Heard, 6th December 2015

Recital with Andreas Scholl

Wigmore Hall / English Concert

Davies was supreme in clarion tone and impressive agility. Melanie Eskenazi, Music OMH, 21st November 2015
Alternating solos with duets, they took it in turns to stun us with beauty; the dark splendour of Purcell’s ‘Ode on the Death of Queen Mary’ was offset by the comic ‘Cold Song’ (Scholl’s calling-card) and ‘Evening Hymn’ (Davies’s ditto); their final encore was a brilliant reprise of ‘Sound the trumpet’ with Scholl ending in baritone mode and Davies embroidering on top. A flawless evening. Michael Church, The Independent, 21st November 2015
The singers provided the Wigmore’s Purcell retrospective with a great and perfectly coordinated double act, imaginatively supported by the English Concert. George Hall, The Guardian, 20th November 2015
Davies offers something richer, more expressive and more virtuosic.  Anna Picard, The Times, 23rd November 2015



Queen's Hall

Iestyn Davies proved himself to be a true master of his craft, singing with a stunningly sublime tone, perfectly suited to the music. The juxtaposition of a full, rich sound from the orchestra, with natural horns cutting through the strings like pealing bells, to the clean simplicity of just continuo and theorbo to accompany Davies’ heavenly singing was particularly effective.  Miranda Heggie, Herald Scotland, 23 October 2015
Iestyn Davies’ pellucid counter-tenor voice was spellbinding and their duet together ravishing. Susan Nickalls, The Scotsman, 26th October 2015


Farinelli and the King

The Duke of York's Theatre

The music is exquisite, truly to die for.  Ann Treneman, The Times, 30th September 2015
And, as before, these items – five of the seven by Handel, three from Rinaldo, sung in Italian (no sur-titles) by the great counter-tenor Iestyn Davies  Michael Coveney, What's on Stage, 30th September 2015
Davies’ voice [is] extraordinary. Natascha Tripney, The Stage, 29th September 2015
Mark Rylance may be the big acting name in Farinelli and the King but the real star – whose talent makes you tingle – is counter-tenor Iestyn Davies Quentin Letts, The Daily Mail, 30th September 2015
Graced by the most beautiful countertenor voice of our age with fine musical intelligence to match, Iestyn Davies.

The Arts Desk, 30th September 2015
The musical interludes, predominantly arias by Handel, are sung exquisitely by countertenor Iestyn Davies. Fiona Mountford, Evening Standard, 30th September 2015
Glories of the performance from singer Iestyn Davies Leslie Felperin, The Hollywood Reporter, 30th September 2015
An undoubted draw too is the involvement (supported by a rotating body of other singers in this transfer) of the noted counter-tenor Iestyn Davies, who gives us a full-throated inkling of the sublime sounds to which Philippe was treated.  Dominic Cavendish, The Telegraph, 30th September 2015
Iestyn Davies sang them all with so silvery a tone and so virtuosic an execution that there were times when it seemed that some members of the audience were about to stand up and cheer. Melanie Eskenazi, Music OMH, 29th September 2015
Counterpointed with the celestial beauty that pours forth from counter-tenor Iestyn Davies in some of the most gorgeous arias of the 18th Century’  Paul Taylor, The Independent, 1st October 2015
He [Iestyn Davies] seems to sing Handel with as much ease as if he had imbibed it with his mother’s milk both in the long pure notes and in the death-defying thrills and spills of the coloratura’  David Karlin, Bach Track, 30th September 2015
The combination of the finest actor and the finest countertenor of their respective generations makes this an evening that not theatre or music lover can afford to miss. Michael Arditti, Sunday Express, 5th October 2015
The highlight is the part of Farinelli…sung by Iestyn Davies, whose voice is incredible Steve Myall, Sunday Mirror, 4th October 2015
Iestyn Davies…is his [Sam Crane’s] superlative, sublime voice Georgina Brown, Sunday's Daily Mail, 3rd October 2015
Davies (performing the night we went) is a world class singer and never puts a foot wrong in his arias as he embellishes them with the type of ornaments that castrati may originally have applied to them. Sam Smith, Londonist, 4th October 2015
Singer Iestyn Davies and actor Sam Crane are glorious in their joint role as Farinelli...The arias sung by Davies are hauntingly beautiful and the theatre is silenced in awe of his spectacular talent. Laura Jones, Broadway West End, 4th October 2015
(Iestyn Davies) echoes the king’s bipolar condition but also emphasises how music transcends the human and enters into the divine Cath Willcox, The Upcoming, 2nd October 2015
Sung by the superb countertenor Iestyn Davies Warwick Thompson, Blouin Art Info, 2nd October 2015
The prime cut is the sensual richness of countertenor Iestyn Davies' voice...Davies really dazzles.  Time Out, 6th October 2015
Sublime high entertainment The Times, Critics Choice, 17th October 2015
With superb staging and singing from Iestyn Davies, you too will believe music can cure all. Daily Mail, 25th October 2015
The role was sung by the glorious countertenor Iestyn Davies Michael Arditti, Express, 5th January 2016


Recital - 12th April 2015

Wigmore Hall

'Iestyn Davies on strong form in this generous selection of Handel arias opening the Wigmore Hall new season'...'Iestyn Davies displayed great ease and wonderful evenness in the divisions, and it was characterful too!'

(5 Stars)
Robert Hugill, Planet Hugill, 13th September 2015
'Is there anything that countertenor Iestyn Davies cannot do with his voice?'...'Davies negotiated the high lying melody, moving lightly through the rapid runs, the phrases expanding naturally and flawlessly.'...'Davies whirled through the semiquavers but never at the expense of musicality and communication'...'Davies used his lower register most expressively, moving smoothly across octave leaps to convey Rinaldo’s despair and confusion.'...'Davies’ vocal flexibility was remarkable' Claire Seymour, Opera Today, 14th September 2015
 'Davies is a superb Handelian, one of today’s finest, and there was a real sense of occasion throughout.'...'[he] was on wonderful form' Tim Ashley, The Guardian, 14th September 2015
Sublime voice, faultless technique and superb artistry Keith McDonnel, Music OMH, 14th September 2015
Davies performed three arias from the work, which managed to showcase the breadth of his skills. He achieved a magnificent purity of tone in “Sento amor”, but what is more remarkable is that as the elongated, high-lying lines of that aria gave way to the intricate, furious semiquaver passages that dominate “Furibondo spira il vento”, the purity of Davies’ tone remained alongside incredible precision. Jack Johnson, Bach Track, 16th September 2015

Purcell & Blow

Recital - 19th August 2015

Queen's Hall, Edinburgh Festival

The man himself made a predictably beautiful sound: his countertenor is probably the most in-demand in the world at the minute. He was poignant and melancholy in famous Purcell numbers like O Solitude or the famous Evening Hymn, but he wasn’t above having some fun with the song of the Cold Genius in King Arthur, displaying phenomenal technique and breath control in the process...'flawless intonation and beautiful tone' Simon Thompson, Seen and Heard, 20th August 2015
He channelled all his expression through that intensely focused voice, rich in dramatic grit, and his Purcell was as thoughtful as it was beautiful. He never overplayed the composer’s copious word-painting, but his delivery of the unpredictable The Plaint was fluid and expansive, and his What power art thou was scarily intense. The Scotsman, 20th August 2015
'Davies himself is on stratospheric form at the moment...the clarity, command and directness of Davies’s singing is phenomenally impressive...Fairest Isle was flawless, full-bodied, arresting.' Susan Barr, Herald Scotland, 19 August 2015



Glyndebourne Festival Opera

Iestyn Davies sang David with heroic purity, ‘O Lord, Whose Mercies Numberless’ characteristic of his sweetness of tone, graceful ornamentation and nuanced phrasing. David’s music is perhaps not only the most beautiful but most varied in the work, from fast, dramatic arias – ‘Such haughty beauties’ – to solemn recitative – ‘O Jonathan ‘ and Davies gave it all the most touching eloquence.
Melanie Eskenazi, Music OMH, 24th July 2015
'Musically this evening is well-nigh flawless. No praise too high for the singing of Davies, Appleby, and Purves'...'this is a landmark production.' Michael Church, The Independent, 24th July 2015
Iestyn Davies’s exquisite David. There’s an unearthly quality to this voice that sets it effectively apart from all around it, but grounded in a muscularity that makes a credible warrior of a figure we first encounter bloodied and bruised from the fight. Alexandra Coghlan, The Arts Desk, 24th July 2015
Superb singing from Iestyn Davies Barry Millington, The Evening Standard, 24th July 2015
The star is Iestyn Davies, whose countertenor is unwaveringly lustrous as a David who is far too popular and handsome for Saul’s liking. Richard Morrison, The Times, 25th July 2015
Iestyn Davies is in glorious voice as David — rich in tone yet unaffected — and his account of “Oh Lord Whose Mercies Numberless” is almost heart-stopping. Laura Battle, The Financial Times, 26th July 2015
Iestyn Davies just gets better and better: I don’t think I have ever heard a counter-tenor in an opera house sounding more warmly radiant or tonally secure, and his David impressively combines princely dignity with intense melancholy, quite magically so in his great lament “Mourn, Israel.” Rupert Christiansen, The Telegraph, 24th July 2015
Iestyn Davies, his countertenor flooding the house with its agile fullness, played David with remote, Hamlet-like detachment. Peter Reed, Classical Source, 23rd July 2015
'This was counter-parted by the cool beauty of Davies' singing and his account of O King, whose mercies are numberless was one of the highlights of the evening.' 'But the beauty and intelligence of Iestyn Davies performance helped to bring the role alive in multiple ways.' Robert Hugill, Planet Hugill, 27th July 2015
Countertenor Iestyn Davies is an equally charismatic David, and he delivers the hit number ‘O Lord, whose mercies’ with ravishing beauty. Warwick Thompson, Blouin Artinfo, 25th July 2015
When Iestyn Davies’ David attributes his victory over Goliath to God (”O king, your favours with delight, I take, but must refuse your praise”), the strength and purity of the countertenor’s voice were heart-melting.  David Karlin, Bach Track, 27th July 2015
The marvellously rich countertenor voice of Iestyn Davies is one of the most glorious sounds to be heard on the opera stage today, and its purity fits the part of David perfectly. William Harston, The Express, 28th July 2015
The whole cast is enormously impressive but the maddened, bull-like Saul of that exemplary singing actor Christopher Purves, the stoic David of radiant counter-tenor Iestyn Davies and Lucy Crowe and Sophie Bevan as sisters Merab and Michal are outstanding. David Gillard, The Daily Mail, 31st July 2015
Amongst a strong cast of singers the other person who requires special mention is Iestyn Davies who sings the counter tenor role of David. The purity of line he produces and the beauty of his tone are ravishing. It is no surprise that Saul’s daughter Michal (Sophie Bevan) and son Jonathon (Paul Appelby) both fall in love with him. A counter tenor does not usually have the longevity of other operatic voices, but here is a singer at his peak and well worth following to future engagements. Howard Sheperdson, Limelight Magazine, 31st July 2015
Sublimely sung by Davies Anna Picard, The Spectator, 1st August 2015
Iestyn Davies, as David, is superb; his rich, secure countertenor seems to get better with every new role. Stephen Pritchard, The Guardian, 2nd August 2015
Iestyn Davies’s alto, who is the vocal star of the show as David, immaculate and sensuous in his singing of the oratorio’s hit number, “O Lord, whose mercies numberless”, which I haven’t heard surpassed live. It’s worth the price of the ticket for his singing alone. The Sunday Times, 2nd August 2015
'Counter-tenor Iestyn Davies as David will also rarely enjoy better nights than this'...'The cast are first class' The Daily Mail, 2nd August 2015
All were impressive, none more so than Iestyn Davies in the pivotal role of David. The security, fluency, expressiveness and downright beauty of his performance entirely naturalized the countertenor register…rarely can he have been heard in better voice. Russ McDonald, Opera Magazine, September 2015
Iestyn Davies kickstarted the drama and characterisation, both deftly done.  Robert Thicknese, Opera Now, August 2015
DVD Review

Of the singers, I was especially impressed by the countertenor Iestyn Davies, who sings David.
Hans de Groot, The Whole Note, 29th August 2016
Iestyn Davies' eloquent David is career-defining Opera Now, September 2016

Lewes Chamber Music Festival Recital

All Saints Centre, Lewes

Davies’ counter-tenor voice was famously sublime of course, and Thomas Dunford’s lute-playing was equally heavenly. As with all great artists, these two played fast and loose with the rules, laying bare the delicate and mobile structures of Dowland’s writing while letting the blues in through a little breath in music’s space/time continuum.

The quality of quietness is a rare and beautiful thing, the harmony of Iestyn Davies and Thomas Dunford rarer and more beautiful still.

Five stars
Eleanor Knight, The Argus, 15th June 2015


Sentences (World Premiere)

The Barbican

Davies’s artistry: during the work’s course, he sings against a playback loop of his own voice, and the effect – all close Monteverdian harmony – is ravishing. Tim Ashley, The Guardian, 7th June 2015
'In this elegant performance from countertenor Iestyn Davies and the Britten Sinfonia under Muhly himself, no detail was either overcooked or overlooked.'...'showcasing the seamlessness of Davies’s tone and phrasing.' Hannah Nepil, The Financial Times, 8th June 2015
The soaring otherworldly voice of countertenor Iestyn Davies Barbara Kiser, Nature Blog, 10th June 2015


Farinelli and the King

Sam Wanamaker Playhouse

The great countertenor Iestyn Davies steps in, singing with such an intense beauty that he almost manages to upstage the un-upstageable Rylance. This takes some getting used to and at first I felt sorry for Crane, an actor of keen reserve, as he stood in silence while Davies delivered another showstopper.  Ben Lawrence, The Telegraph, 21st February 2015
It was a joy to hear the arias sung with such brilliance of execution and flair in interpretation, especially those from Handel’s Rinaldo. Despite its terrifying demands, Iestyn must have found it a breeze (!) to sing Venti,Turbini standing before us in gold brocade, given that the last time some of us heard him perform this aria he was merrily cresting the clouds on a boneshaker in the Glyndebourne production..."clear articulation of divisions and quick passages..." All those qualities are found in abundance in Iestyn Davies' singing
Melanie Eskenazo, Music OMH, 22nd February 2015
Farinelli the singer is British countertenor Iestyn Davies (William Purefoy in the later shows in the run), suddenly assured and completely captivating. Alexandra Coghlan, The Arts Desk, 21st February 2015
A superb countertenor, Davies captures the piercing expressiveness and introspection of this remarkable figure whose voice proved so restorative for Philip...Davies’ sound is always sophisticated and crisp — and his high notes are ethereal. Henry Hitchings, The Evening Standard, 23rd February 2015
Crane is shadowed by the counter-tenor Iestyn Davies as the singing Farinelli and the moments when he renders two arias, Cara Sposa and Venti Turbini, from Handel’s Rinaldo, offer a pleasure that verges on the sublime. Michael Billington, The Guardian, 24th February 2015
Iestyn Davies sings with rapturous virtuosity and uncanny beauty those Handel arias that give the King temporary release. Paul Taylor, The Independent, 23rd February 2015
'the arias are skin-tingling and exquisite' Natasha Tripney, The Stage, 23rd February 2015
Iestyn Davies stepping forward to trill a rousing aria. Matt Trueman, Variety, 23rd February 2015
Iestyn Davies was superb as Farinelli the singer, gliding onto the stage when music was required. Robert Hugill, Planet Hugill, 25th February 2015
Farinelli is voiced by the brilliant countertenor Iestyn Davies punctuating the action with arias including two from Rinaldo which was the first opera written specifically for the London stage and, in a nice parallel to the plot, by the court musician Handel who was imported by George I, first of the Hanoverian kings.  You don’t have to be an opera lover to wonder at these eerie, ethereal interludes in the play. Johnny Fox, Londonist, 25th February 2015
The music (by Porpora, Hasse and Handel), and the singing of countertenor Iestyn Davies, are glorious enough on their own.  The Week, 28th February 2015
But the crowning glory is that the role is sung by the peerless counter-tenor Iestyn Davies, whose sublime rendition of several Baroque arias fully justifies Philippe’s description of him as angelic. Michael Arditti, Sunday Express, 1st March 2015

Flow My Tears

Wigmore Hall Live CD

Davies, one of the finest of his formidable generation of countertenors, lavishes his delectable artistry on a well-chosen selection of songs by the Elizabethan and Jacobean masters Robert Johnson, John Danyel, Thomas Campion and John Dowland. Nico Muhly’s Old Bones, written in recognition of the rediscovery of Richard III’s resting place, makes for a whimsical contrast. Stephen Pettitt, The Sunday Times, 8th March 2015
Iestyn Davies is on peak form, singing with superb control and combining a sense of line with an intense feel for the words. His diction is superb and the beauty of tone stunning.  Robert Hugill, Planet Hugill, 23rd March 2015
Iestyn Davies is ideally suited to this repertoire, his voice ethereal, plangent and effortless, his diction and phrasing responsive to the subtlest poetic nuances...'In short, a treasurable disc.' Kate Bolton, BBC Music Magazine, May 2015
I’ve never met a Wigmore Hall recital disc that I didn’t like, and this lovely selection of songs for lute, viol and voice from the countertenor of the hour, Iestyn Davies, is one of the best so far. Amanda Holloway, Sinfini Music, 15th April 2015


B Minor Mass

The Cleveland Orchestra; Welser-Möst

 It is hard to imagine a better quartet for this performance; each was superb... Encountering Iestyn Davies in live performance for the first time was a revelation; his voice is richly powerful through a wide range, expressive in his use of tonal color and vibrato, with an unerring sense of fluid line and phrasing. Timothy Robson; Backtrack; 20th October 2014



Glyndebourne Festival Opera

With his pinging projection, confident coloratura and sheer musical flair, Iestyn Davies is simply the nonpareil of contemporary counter-tenors, and here it helps that he looks and acts the sheepish yet valiant schoolboy to an endearing tee. Rupert Christiansen, The Telegraph, 10th August 2014
...with that incomparable countertenor Iestyn Davies in the title role... Michael Church, The Independent, 11th August 2014 is thanks to the singers, in particular countertenor Iestyn Davies, whose Rinaldo marries depth of feeling with dazzling technique. Hannah Napil, Financial Times, 11th August 2014
Davies's performance was a dramatic and musical tour de force...ensuring that the drama was balanced. Davies showed himself entirely adept at coping the demands of the rather uneven libretto. When Armida kidnaps Almirena, Davies has a pair of arias almost back to back both essentially covering the same emotional ground (the entirely wonderful "Cara sposa" and the different but still lovely "Cor ingrato". But you never felt that Davies was doing so, he brought a wonderful variety of tone and emotions to them. The virtuoso act one finale was brilliantly done even though Davies spent part of the aria on a flying bike. Rinaldo's later arias are equally spectacular, and Davies acquitted himself brilliantly, being wonderfully martial in "Or la tromba". Almost as importantly, he brought light and shade to the character. In this version of the story Rinaldo is unbelievably moral, he is never tempted by Armida and this is the story's weakness (Carsen's re-invention with Armida as the evil teacher works well here). The beauty of Davies's Rinaldo was that we never really noticed this weakness, he created a complete character Robert Hugill, Opera Today, 10th August 2014
This revival benefits, dramatically and vocally, from Iestyn Davies - one of the finest countertenors around, who excels equally at anguish, tenderness, virtuosity and - rarely off stage - stamina. A first for Glyndebourne, the cast boasts no fewer than four countertenors - with Davies supreme among them...Iestyn Davies’s magnificent title role performance
Graham Rogers, The Stage, 11th August 2014
Iestyn Davies rises to the varied challenges of the title role with some aplomb... George Hall, The Guardian, 12th August 2014
Iestyn Davies, in the title role, is infinitely eloquent and indefatigable in pursuit of his beloved Almirena... Hilary Finch, The Times, 13th August 2014
Iestyn Davies’s punchy Rinaldo puts his co-stars in the shade...but Carsen’s schoolboy characterisation of Handel’s crusading hero might have been waiting for the countertenor Iestyn Davies to take up Sonia Prina’s blazer, satchel and shoes...he delivers a bravura Or la tromba in punchy, military style. And his tender singing of Cara sposa, a wrenching lament for his abducted betrothed, Almirena, really hits you in the solar plexus. It’s great news that Davies will be playing David in Barrie Kosky’s new production of Handel’s Saul next summer...Davies’s charisma and vocal lustre. Hugh Canning, The Sunday Times, 24th August 2014
Davies delivered impeccably musical accounts of the character's full complement of arias, in exquisitely modulated singing that was expressive of the multitude of emotions that affect him. His grieving 'Cara sposa' was outstanding. Margaret Davies, Opera, October 2014


St John Passion

Britten Sinfonia; Barbican Centre

As for the countertenor Iestyn Davies, no one better contemplates the sorrow of Christ's death as expressed in the aria Es ist vollbracht ("It is accomplished"). Fioana Maddocks, The Guardian, 27th April 2014
Iestyn Davies’s charismatic readings of Von den Stricken, to vivid playing from Daniel, his fellow oboist Emma Fielding and the bassoonist Sarah Burnett, and Es ist vollbracht...set a standard of technical and expressive perfection that few singers can match. Anna Picard, The Times, 18th April 2014


The Art of Melancholy


Davies' singing combines weighty physical presence with rich vocal coloration and an utterly pristine delivery, so that Dowland's melancholic songs - which can so easily sound merely mopey - emerge as stylized portraits of grief. Yet there's also an expressive urgency to these performances that rescues the undertaking from archness, and Dunford's brisk, clear playing forms a perfect counterpoise to Davies' singing. The combination is ripe, affecting and utterly beautiful. Joshua Kosman,, 23rd March 2014
The rarest thing in opera is a distinctive voice, and Iestyn Davies has one. It’s clear, full and plangent, with crisp diction and unassuming eloquence. (These are qualities the young lutenist Thomas Dunford has, too.) Mr. Davies saves the best for last on this disc of Dowland songs: a wrenching rendition of “Now, oh now I needs must part.” Zachary Woolfe, New York Times, 2nd April 2014
As heard already in recent recordings, Davies's vocal technique is impressively secure (especially in the long-breathed, almost suspended phrases Dowland so loved)...his refined and delicately shaped performances... Another welcome feature of Davies's singing is ornamentation... Christopher Price, International Record Review, July/August 2014

US recital tour

Thomas Dunford, lute

Davies and Dunford seem born to perform these works. Their achievement was as extraordinary as the music. Davies combines power and agility with the widest imaginable range of colours; his understanding of how to sing in English is superb. Dunford plays with exquisite nonchalance, appearing to take enormous performing risks, but always delivering with precision, exactly on target. David Gordon Duke, Vancouver Sun, 31st March 2014
...Iestyn Davies’ voice stands out for its beauty and evenness throughout its range. More importantly, he is a phenomenal technician and artist, a fact demonstrated repeatedly throughout the afternoon. He was ably partnered by the young lutenist Thomas Dunford, whose artistic intelligence belies his age and matches Davies’ lyricism beautifully. Though the balance was slightly skewed towards Davies throughout the recital, the incorporation of four of Dowland’s lute solos demonstrated that Dunford is absolutely an artist to admire in his own right... The Dowland songs in the second half, however, were a different story altogether. Known for its melancholy affectations, Dowland’s music can come across as arch and self-indulgent. Davies’ straightforward delivery was refreshingly unsentimental, paradoxically allowing for a much wider range of emotions to be explored. The Dowland pieces allowed for the greatest amount of interaction between Davies and Dunford; the strophic Come again sweet love and Now, o now I needs must part were dazzling in their ornamentation – and it was a thrill to watch two great musicians respond and feed off each other’s artistry. Kevin Ng,, 1st April 2014
Davies possesses one of the most refined and lucent countertenor voices, with flawless intonation, ease and beauty across its range...With his love of text, intelligent phrasing and clean...the two musicians held the audience spellbound and still... Charles T. Downey, Washington Post, 9th April 2014



English National Opera

Musically it's tremendous...Ultimately, however, the evening belongs to...Davies...the former infinitely noble and moving...They've rarely been bettered in their respective roles, and are both, quite simply, breathtaking. Tim Ashley, The Guardian, 1st March 2014
Now director Richard Jones and conductor Christian Curnyn are presenting it with a cast headed by the singer who is replacing Scholl as the world’s top countertenor, Iestyn Davies...When Davies, as Bertarido, launches into his opening aria of desperate loss, we immediately get the full splendour of his sound...Since this opera is all arias (apart from one duet, divinely sung by Davies and Evans), and since each da capo aria contains several repeats, Jones has developed strategies to deal with what he seems to perceive as the problem of audience-boredom. Some of these repeats are turned into slapstick comedy... he imposes his own comic denouement in which Iestyn Davies revels with his instinctive comic timing. Michael Church, The Independent, 1st March 2014
...Iestyn Davies (Bertarido) and Rebecca Evans’ (Rodelinda) ravishing farewell duet, ‘Io t’abbraccio’ (I embrace you). Igor Toronyi-Lalic, The Spectator, 1st March 2014
...of superb musical quality. Rebecca Evans and Iestyn Davies are just about perfection as Rodelinda and Bertarido, and there’s a performance of terrific personality and authority by John Mark Ainsley as the loopy Grimoaldo. Rupert Christiansen, The Telegraph, 1st March 2014
As the two rooms slowly pull apart and the lovers are separated, Rebecca Evans (Rodelinda) and the countertenor Iestyn Davies (Bertarido) sing their duet with consummate skill... Davies is on incomparable form. Hilary Finch, The Times, 3rd March 2014
...Iestyn Davies stole the show with aria after aria of heavenly purity and ardour.
Helen Wallace, BBC Music Magazine, 4th March 2014
The night belonged to Iestyn Davies. An ex-chorister of St John's College, Cambridge, Davies has suddenly accelerated from "promising British countertenor" to world-class artist. He can sing, whether full blast or hushed pianissimo, with a strength, steadiness of tone and musical confidence almost unknown in a voice type which has prefer ethereal frailty as a calling card. He also has an understated sense of comic timing. Fiona Maddocks, The Observer, 9th March 2014
Iestyn Davies’s Bertarido, the production’s one unqualified success...there’s a maturity and poise to his performance... Andrew Clark, Financial Times, 3rd March 2014
...Iestyn Davies as Bertarido is magnificent, too, and his acting is as concentrated as his singing. Michael Tanner, The Spectator, 8th March 2014
Iestyn Davies’s Bertarido shines from his first appearance with one of Handel’s most celebrated arias... Hugh Canning, The Sunday Times, 9th March 2014
...his singing was clean, powerful and unfailing elegant. Erica Jeal, Opera, May 2014
Iestyn Davies, vocally ravishing and intelligent as Bertarido, was a much more complex figure... Tom Sutcliffe, Opera Now, May 2014


Your Tuneful Voice

Robert King; The King's Consort; Vivat

Iestyn Davies is already known and rightly feted for his contributions to recordings of baroque opera and oratorio as well as for a number of solo albums, not least his Hyperion programme of arias for the 18th-century Italian castrato Gaetano Guadagni.

Here he applies his eloquently floated, liquid, sensitively inflected countertenor voice to 13 arias from Handel’s oratorios, complemented by the King’s Consort playing the overtures to Jephtha and Samson.

Jephtha also yields the aria “Up the Dreadful Steep Ascending”, one of the especially spirited items here, in which Handel – as any composer might naturally do – clothes the opening words in a rising scale but then challenges his singer with rapid coloratura writing, to which Davies adds an exuberant final flourish high in the voice’s stratosphere.

The joy of listening to Davies in a piece such as this is that he cherishes the words while negotiating the technical hurdles with amazing fluency and consistency of timbre. He never forces the tone in the voice’s upper reaches, and seems so thoroughly attuned to the style and sense of the music that he is also able to bring brilliance of character to it as well.

Many of the arias here are of a quiet, contemplative or pastoral type that contrast with the wilder demands of “Up the Dreadful Steep Ascending” or the vividly virtuoso “Mighty Love Now Calls to Arm” from Alexander Balus and “How Can I Stay When Love Invites” from Esther.

Davies starts his programme with Daniel’s second aria, “O Sacred Oracles of Truth”, from Belshazzar, which he has also recently sung on a complete recording of the oratorio with William Christie and Les Arts Florissants, reviewed on these pages last month.

Here, it heralds several arias in a similar vein, such as “Tune Your Harps to Cheerful Strains” from Esther, “Yet Can I Hear that Dulcet Lay” from The Choice of Hercules and “Thou Shalt Bring Them In” from Israel in Egypt, with a darker, consolatory strain entering Davies’s voice for the solemn “Who Calls My Parting Soul from Death”, in which he sings Assuerus to Carolyn Sampson’s Esther in a tender dialogue.

Davies’s definition of the varying moods in these arias is of an absorbing order, matched as it also is by the King’s Consort’s judicious range of colour in the orchestral accompaniments on a disc that highlights a countertenor voice in its prime.
Geoffrey Norris, The Telegraph, 6th February 2014
...they allow us to appreciate Davies's extraordinary evenness of tone, his immaculate breath control and the rapt subtlety of his phrasing... the handful of virtuoso arias are delivered with terrific panache and a bravura technique that is second to none. Tim Ashley, The Guardian, 13th February 2014
Davies is in his prime of vocal flexibllly, and authoritative in modes both pious ('O sacred oracles of tmth ) attd warlike (Mighty love now calls to arm'). Early Music Today, March-May 2014


A Midsummer Night's Dream

Metropolitan Opera

The young cast was as good as any the Met has fielded for Britten in years, led by Iestyn Davies, calmly commanding as Oberon, king of the fairies...Mr Davies is fearsomely eloquent and velvety in the middle and low parts of his voice, and his hushed aria "I know a bank" seemed as natural as speaking, his presence ominously dandyish. Zachary Woolfe, The New York Times, 13th October 2013
On opening night, the singing throughout was everything required, and in many instances more than that. Davies's countertenor was... scene-stealing... David Finkle, Huffington Post, 13th October 2013
As the sinister fairy king Oberon, Iestyn Davies made his sleek countertenor purr like a flute in its lowest register. If sophistication made a noise, this is what it would sound like. His acting, too, in the company’s badly dated two-decade-old production, looked effortless. Enfolding the youthful Puck in a tight embrace, Mr. Davies projected neither parental care nor sexual longing but something more like aesthetic delight in a gorgeous objet d’art.

James Jorden, The Observer, 29th October 2013
Iestyn Davies made a superb Oberon, with a countertenor both alluring and insinuating. John Rockwell, Opera, December 2013


Chichester Psalms

Last Night of the Proms, Royal Albert Hall

...which emerged with beautiful clean, clear lines, as did the performance of Bernstein’s Chichester Psalms which followed – with Iestyn Davies as the wonderful counter-tenor soloist. Ivan Hewitt, The Sunday Telegraph, 7th September 2013




Davies, singing Isaac in Abraham and Isaac — a part written for Kathleen Ferrier — pipes with the innocence of a young boy, and a certain eeriness. They sing together to represent an angel’s voice. It’s spine-chilling. Kieron Quirke, Evening Standard, 11th July
Canticle II is the setting of a Chester miracle-play retelling of the story of Abraham and Isaac. It was written for Pears and the great contralto Kathleen Ferrier, and here Bostridge was joined by Ferrier’s nearest contemporary male equivalent, Iestyn Davies Michael Church, The Independent, 11th July 2013



New York Philharmonic

 ...the superb countertenor Iestyn Davies...Mr. Phan and Mr. Davies brought out the best in each other during the wistfully beautifully duet “Et misericordia” from the Bach Magnificat, one of the high points of the fresh, stylistically insightful performance... Anthony Tommasini, The New York Times, 7th March 2013
Iestyn Davies (a deft countertenor) Martin Bernheimer, Financial Times, 7th March 2013

Arise, my muse

Wigmore Live

...he negotiates the florid passage work with such supple ease... the wonderful sly spontaneity of Strike the Viol, which culminates in an alluring Restoration jam session, the languorous sensuality of Here the Deities approve, and a gently insouciant Crown the Altar - not so much sung as caressed - are irresistible. Paul Riley, BBC Music Magazine, June 2014
This is a disc that reminds us why live recital programmes are such a valuable part of recorded repertoire. Rather than the monochrome focus on the solo artist permitted by the artifice of the studio, we get a fully rounded musical experience that feels more satisfying both for performers and listeners. Alexandra Coghlan, Gramophone


Rodelinda (DVD)

The Metropolitan Opera

Another countertenor, Iestyn Davies, making his debut in the role of Unulfo, almost walks away with the show. The voice is utterly smooth, his agility remarkable and he dazzles in his Act 2 showpiece, 'Fra tempest funeste'. Robert Levine, International Record Review, January 2013



Les Arts Florissants

...Iestyn Davies’s performance was, as usual with that amazing singer, beautiful and compelling beyond words.

Michael Church, The Independent, 14th December 2012

Opening concert

Wigmore Hall Residency

Please click below to view Laura Battle's review in the Financial Times.

Laura Battle, Financial Times, 28th November 2012


The Tempest

The Metropolitan Opera

...countertenor Iestyn Davies was a stand-out turn in the smaller part of Trinculo.

Tom Service, The Guardian, 26th October 2012

Iestyn Davies had fun with the buffa parts of... Trinculo; it’s a nice touch to make Trinculo, a clownlike outsider, a countertenor. 

Anne Midgette, The Washington Post, 24th October 2012

Iestyn Davies as Trinculo...amuse in their drunken exploits.

Ronni Reich, New Jersey Star Ledger, 25th October 2012

More standouts were countertenor Iestyn Davies, bright-voiced and droll as the drunken jester Trinculo...

James Jorden, New York Post, 25th October 2012


B Minor Mass

BBC Proms: Royal Albert Hall, London

Nothing, however, could match the pure, unaffected simplicity of countertenor Iestyn Davies in the Agnus Dei. It was as good as you are likely to hear, ever.

Fiona Maddocks, The Observer, 5th August 2012

There was some superb duet work, but when counter-tenor Iestyn Davies sang his solos, his extraordinary tonal richness and imaginative phrasing combined into something truly unforgettable.

George Hall, The Guardian, 3rd August 2012

When, very near the end, that supreme young countertenor Iestyn Davies sang the "Agnus Dei" with such sublime, moving eloquence, it set the seal on an interpretation that had been conceived not only with the utmost care but with a depth of human feeling that was wholly enveloping.

Geoffrey Norris, The Telegraph, 3rd August 2012.

...while counter-tenor Iestyn Davies was his usual peerless self, sending his big sound up to the gods with effortless grace. 

Michael Church, The Independent, 3rd August 2012

...while Iestyn Davies's Agnus Dei was unforgettable: a point of stillness amid the beating wings...

Anna Picard, The Independent, 5th August 2012

Arias for Guadagni

Hyperion Recording imaginative, consummately sung programme from the brightest star among young British countertenors.

Richard Wigmore, Gramophone, August 2012

...Throughout his effortless line, countertenor Iestyn Davies revivifies Guadagni's Orphic powers. He is particularly breathtaking in works by Handel, Arne and John C Smith, all of which are designed to show off the castrato's pellucid timbre...

Berta Joncus, BBC Music Magazine, August 2012

Gaetano Guadagni was the 18th-century Italian castrato who came to London, learnt to sing opera from Handel and to act from Garrick, then went to Vienna where Gluck created his Orfeo for him. Iestyn Davies, the British counter-tenor, travels that journey via Hasse, John Christopher Smith and Thomas Arne. By all account Guadagni put tonal beauty and dramatic insight before vocal display and Davies's unforced timbre, exemplary intonation and sense of style brings out the nobility of the music he inspired. Arcangelo, Jonathan Cohen's ensemble, also rises to C.P.E. Bach's stunning Symphony in D.

Richard Morrison, The Times, 7th July 2012

...this fine, beautifully sung programme by the countertenor Iestyn Davies. If Guadagni was noted for the delicacy of his phrasing and the richness of character in his voice, Davies fully emulates him in these performances of arais by Handel, Hasse and Arne, with defining interpretations of extracts from Gluck's Orfeo and an eloquently poised aria by Guadagni himself. Arcangelo lends exquisite instrumental support.

Geoffrey Norris, The Daily Telegraph, 23rd June 2012

Davies gives us the latter’s lovely “The raptur’d soul”, but cheats by including David’s ravishing “O Lord, whose mercies numberless”, from Saul, and Cyrus’s bravura show stopper, Destructive War, from Belshazzar, written for others, but sung by Guadagni in revivals. Davies sings them superlatively well.

Hugh Canning, The Sunday Times, 27 May 2012

Guadagni's early distrust of virtuosity was a matter of aesthetics rather than technique, and Davies includes some of the showstoppers written for him by Handel and Arne, delivering them with wonderful finesse and flawless tone.  

Tim Ashley, The Guardian, 7th June 2012



The Art of Melancholy

Iestyn Davies, countertenor
Thomas Dunford, lute

Potton Hall, Dunwich, Suffolk, United Kingdom
Produced by Adrian Peacock
Engineered by David Hinitt

Arise my muse

Famed for the crystalline beauty of his voice and the breath-taking daring of his artistry, British countertenor Iestyn Davies returned to Wigmore Hall with a programme reaching back to the Restoration Court to reveal the wealth of musical riches of the late 17th-century London.

For this recital, Iestyn Davies and the ensemble stepped beyond the bounds of convention to explore the works with fresh insight, delivering an invigorating yet refined and delicate performance.
Wigmore Live