"This recording of Benjamin Britten's five Canticlescaptures the essence of the composer's unique voice with remarkable emotional depth and technical precision. Tenor James Way, alongside his wife and pianist Natalie Burch, creates a compelling intimacy that echoes the special relationship between Britten and his partner and muse, Peter Pears, for whom these works were originally written ... Britten's gift for tenor writing and his operatic sensibilities shine throughout this superbly recorded album. Way demonstrates exceptional control of phrasing and dynamics, particularly in the softer passages where his nuanced delivery creates moments of profound beauty ... [Way and Lotte Betts-Dean's] distinct, pure tones blend beautifully in the conversational elements of Abraham and Isaac ... Burch's piano accompaniment provides sympathetic support throughout, while countertenor Hugh Cutting adds atmospheric depth to the ensemble. Annemarie Federle's horn playing in the third Canticle grows increasingly confident and warm as the piece progresses ... Credit must also go to the Delphian recording team for capturing the subtle nuances of these performances with exceptional clarity and warmth. The outcome is an essential recording for admirers of Britten's vocal writing and a testament to the artistry of all performers involved"

"a classy new rendering of Britten's five Canticles to set alongside those distinguished versions from the likes of Peter Pears, Anthony Rolfe Johnson, Philip Langridge, Ian Bostridge and Mark Padmore ... James Way's instinctive understanding of this stimulating repertoire seems remarkably complete, and he displays a technical security, mellifluousness of timbre and range of tone-colour that excite admiration. Moreover, pianist Natalie Burch offers wonderfully empathetic and deftly poised support throughout. The present husband-and-wife duo excel in Britten's radiant, beguilingly Purcellian handling of Francis Quarles's My beloved is wine and I am his, whose intimate closing bars bring with them a piercing beauty that lingers in the memory. Next comes the masterly Abraham and Isaac, in which Way's partnership with the eloquent Australian mezzo-soprano Lotte Betts-Dean effortlessly generates a keen dramatic instinct that recalls Pears's superbly insightful February 1957 recording with contralto Norma Procter and the composer at the piano ... there's an exemplary contribution from LPO and Aurora Orchestra principal horn Annemarie Federle in Still falls the Rain, Countertenor Hugh Cutting and baritone Ross Ramgobin comprise a judiciously matched yet strongly characterful team in Journey of the Magi, indeed, theirs is a reading both illuminatingly appreciative of Eliot's text and one that readily ignites the imagination. As for The Death of Saint Narcissus, harpist Alis Huws shines in the delectable part that Britten fashioned for the incomparable Osian Ellis. A joy from start to finish, then, and we're also treated to a considerable rarity in the shape of the compact Cycle for Declamation by South African-born Priaulx Rainier - arresting adaptions for solo voice of three meditations ... Suffice to say, Way does them proud. Boasting commendably truthful sound and balance this issue has already afforded me enormous pleasure and should not be missed"