Certainly you are not alone in your estimation of Ian Bostridge. He is perhaps the most fascinating tenor around today. His is a beautiful, clear voice, with impeccable diction, and he rarely fails to bring lucid intelligence to his interpretations. Moreover, his voice is very distinctive and idiosyncrasic. I don't much go for bland singers, and Bostridge is anything but. He's a specialised taste but very rewarding to those who are prepared to rise to the challenge. The "World of" is a good introduction to his work, and you might want to explore further. If you like opera, he's particularly good in Britten, although he's sung a lot of Mozart, and recently, Janacek. He's a singer in the English tradition, thus his affinity for Britten is exceptional. But as you say, he's less mannered and more relaxed than Pears, so I find him more accessible. If you don't want to commit too much yet to opera recordings, you might like to sample his many Lieder recordings - he is a Lieder singer first and foremost. He has a good reputation in Schubert, Schumann and Wolf. His early Schone Mullerin won a Gramophone award some years back and is well regarded. He sings with a vulnerability and slightly neurotic air which is absolutely in keeping with the character of the young miller. His Schwanengesang, which I prefer, brings out the richness in his voice and the elegance of his phrasing, and vies with the best recordings. There's a new Schubert CD out any day now which may be worth seeking out. Of his numerous Britten recordings several are outstanding - my own favourite being the Serenade for Tenor, Horn and Strings. He brings an ethereal, other worldly quality to this, enhancing its dream like qualities, bringing out the underlying sense of horror not all interpreters relate to. Similarly his Our Hunting Fathers has a modern, political edge, a lovely contrast to the lyricism of his singing. Bostridge's individuality can be heard to advantage in Henze's Six Songs from the Arabian. Henze has been writing for voice for 50 years, but when he first heard Bostridge perform he decided that he wanted to write something special that would truly bring out the potential in that amazing voice. Truly this is a virtuoso cycle which challenges the performer, stretching him to his limits. Moreover it's a mysterious, mystical piece: eroticism mixes with brutality, beauty with death, all infused with supernatural, exotic overtones. The challenge is interpretive and emotional, as well, as it's so psychologically complex. There are long, unaccompanied vocal lines which the singer has to shape and colour by sheer subtlety. Henze knew what he was doing, writing for Bostridge, who was an authority on medieval witchcraft when he was at Oxford. This is a landmark recording, which will be a benchmark for years to come. There's a website, which is an delightful, warm hearted read, and also a Bostridge-List. If you'd like any further information, I'd be glad to help. http://www.geocities.com/Vienna/1185/bostridge.html Anne [log in to unmask]