Sparks from Ashes – Czech Songs

Vítězslava Kaprálová Sparks from Ashes, Op. 5; Waving Farewell, Op. 14; Dvořák Cypresses, B 11; Bartók Village Scenes, Sz 78; Jaroslav Křička Three Fables, Op. 21
Nicky Spence enor
Dylan Perez piano
Chandos CHAN 20338
chandos.net

There's something rather magical about hearing a Scottish tenor navigate the linguistic labyrinth of Czech art song with such apparent ease. Nicky Spence, renowned as a supreme interpreter of Janáček, brings his hard-won expertise to this thoughtfully curated collection of Czech and Slovak repertoire, alongside the accomplished pianist Dylan Perez.

The disc's beating heart is undoubtedly Dvořák's Cypresses, that sublime cycle of 18 miniatures which charts love's entire trajectory from tentative first bloom to inevitable decay. Here, Spence demonstrates why he's considered one of our finest singing actors: each song emerges as a complete dramatic vignette, yet the cycle's overall architecture never falters. His technique is impeccable, certainly, but it's the emotional intelligence he brings to Dvořák's mercurial moods that truly captivates. Perez proves an ideal collaborator; his accompaniments are never merely supportive but genuinely conversational—one senses these two artists have lived with this music together.

The programme's more adventurous corners yield equally rich rewards. Bartók's Village Scenes—five folksongs harvested from the composer's Slovak expeditions—receive performances of disarming naturalness. Spence's warm, radiant delivery draws us effortlessly into these rustic wedding celebrations, whereas Perez conjures the requisite pastoral colours with understated skill. The lesser-known Křička songs benefit enormously from Spence's advocacy; his ability to inhabit unfamiliar repertoire with such conviction speaks to rare musicianship.

Perhaps most poignant are the contributions from Vítězslava Kaprálová, that tragically short-lived composer whose Sparks from Ashes concludes the recital. At just 25 when tuberculosis claimed her, Kaprálová left behind music of startling maturity, and Spence's committed performances make a compelling case for wider recognition of her work.

Throughout, Spence's Czech diction is exemplary—clearly those years immersed in Janáček have paid dividends. More importantly, he never allows linguistic precision to overshadow musical spontaneity. The result is singing that breathes, that lives in the moment whilst serving the broader narrative sweep.

A thoroughly rewarding disc that confirms Spence's position as one of our most thoughtful and accomplished recitalists.