Why I voted for…

Henry Purcell by Roderick Williams (baritone and composer)

I think Purcell could have made it onto this even if he’d written nothing other than Dido’s Lament from Dido and Aeneas. As well as being hugely expressive and emotive, it is also written on a ground bass, which satisfies the musician as well – he’s a composer’s composer, but makes people feel amazing too. Also, as he shows in works such as the aria Music for a while, he sets words perfectly, and I would challenge anyone to sit still during his dance music! He could do everything from bawdy tavern house fun to the Funeral Music for Queen Mary, and in his era could easily stand among any of his peers from across Europe.

Edward Elgar by Ryan Bancroft (conductor)

Edward Elgar is my absolute favourite composer to study! Every single note of his drips with both charm and sophistication, and every time I get a chance to delve deep into this music, I find more and more nuance that can only be the result of a breadth of life experience. You can also see quite clearly in the music that he admires the person who will be playing it. There is simply so much care in this music, and for that I am grateful.

Benjamin Britten by Ailish Tynan (soprano)

When I first came to the UK and used to sing Britten’s arrangements of Irish folk songs in concerts, I would introduce them by saying, ‘This is a perfect example of the very best of Anglo-irish relations!’ You wouldn’t think those fantastic melodies could be bettered, but when Britten puts his genius to them, he raises them to another level – by stretching the phrases out and by ornamentation and elaboration, he turns them almost into art song. And he writes flawlessly for the voice, of course. His operas, meanwhile, are so compelling because he is brilliant at honing in on the worst traits of humanity – it’s almost like a kind of voyeurism, watching people on stage showing just how nasty they can be.