It’s the melodic inventiveness and the direct communicative approach of the songs that go direct to the heart of the listener. After a few songs one has learnt his very suggestive way of turning a phrase, but that doesn’t mean that he is predictable. His songs are like the best folksongs: immediately appealing, simple but organically connected with the words. Having listened to five volumes of Bretan’s songs I have to say that I have been immersed in his tonal world and it still fascinates me as much as it did when I heard the first few of them.
Practically every song has something special about it but it is natural that one gets favourites.Inima(tr. 1), for instance, strophic, extremely beautiful;On the Hill of Feleac(tr. 6);Forget Your World(tr. 7), like a revival hymn, the lullabyAt my Son’s Cradle(tr. 9), the powerful and intenseNight Passage for Carts(tr. 14),When Memories …(tr. 19), where the singer’s long legato phrases are impressive andSleepy Little Birds(tr. 21). There is nothing artificial about these songs, and the readings are also very much alive, enhanced no doubt by the presence of an audience on most of the tracks.
Göran Forsling, Musicweb-international.com