Bach: Arias

Editorial Reviews
Amazon.com
This is a beautiful recording. The music is great and includes some of Bach's most famous arias, as well as several less so; however, about two thirds are slow, solemn, devout, and often mournful. The singing is wonderful. Angelika Kirchschlager's voice, flawlessly produced even in the very low register dictated by baroque tuning, is smooth as silk and warm as velvet. Her intonation is immaculate, and her breath control lets her spin out and shape endless phrases; every note is alive and expressive. The orchestra is excellent, its rich but transparent sound a perfect background to the voice; the oboes are particularly prominent, with the bassoon sometimes acting as continuo. There is one instrumental sinfonia, from Cantata No. 156, better known as the slow movement of a piano concerto; here, the oboist has the solo line, embellishing it with great gusto. Carmignola's playing of the violin obbligatos, though undoubtedly "authentic," is less persuasive: in the "Erbarme dich" from the St. Matthew Passion, his rhythms, with exaggerated double-dotting, are jerky and he gets ahead of the orchestra; the "Laudamus te" from the Mass in B Minor comes out very clipped and disjointed. Kirchschlager's approach is mellower and more lyrical, though she tries to match his style. Among the program's highlights are "Schlummert ein," the lullaby from Cantata No. 82, with its beguilingly lovely, peaceful melody, and "Wo zwei und drei versammelt sind," from Cantata No. 42, remarkable for its complex orchestral introduction and interludes and its dramatic middle section for voice and continuo alone. The program ends with the beloved chorale melody Bach used countless times: "Wie soll ich dich empfangen" from the Christmas Oratorio. --Edith Eisler

Tracks:

Caccini/Mercurio: Ave Maria
Mascagni: Sancta Maria
Gounod: Ave Maria
Schubert: Ave Maria
Franck: Panis Angelicus
Rossini: Cuius animam
Verdi: Ingemisco
Mozart: Ave verum
Wagner: Der Engel
Handel: Ombra mai fu
Niedermeyer: Pieta signore
Rossini: Dominus Deus
Schubert/Mercurio: Mille Cherubini in coro
Gruber/Mercurio: Silent Night
Wade: Adeste Fideles
Gloria a te, Cristo Ges

Amazon.com

When he was growing up, Andrea Bocelli recalls finding inspiration in a favorite recording of sacred music performed by tenor legend Franco Corelli. Bocelli--who in the meantime has come to inspire millions of fiercely loyal fans himself--returns to the genre as the guiding theme of Sacred Arias, the release of which coincides with the first English-language biography of the singer. These performances are filled with the singer's phenomenally well-known vocal signature: his flair for long, sweetly floating high notes and the gentle sense of cadence he brings to a melody. It's a mistake to compartmentalize Bocelli into a singer of "operatic" versus "popular" styles: in truth his approach is at heart the same. Lack of color and control in his phrasing remains a drawback, but the emotional empathy Bocelli evokes is never in doubt. The arias collected here sample some of the most famous devotional pieces: Schubert's "Ave Maria" and Mozart's transporting "Ave Verum," as well as an arrangement of "Silent Night" in which Bocelli tries out his English. There's also a decidedly odd choice of bedfellows for a program of "sacred" music, such as a song from Wagner's Wesendonck Lieder (whose "angel" is the object of an overpoweringly erotic attraction) and Handel's figurative ode to a tree, "Ombra mai fu." Still, Bocelli sings with an unfeigned directness that is sure to expand his already enormous following even further. --Thomas May

Customer Reviews:

Beautiful music.......2007-01-12

This is my second copy of this CD, I burned the first one out!!
Andrea Bocelli has a very gorgeous voice that is a gift from above. His voice is not affected or braggadoccio but naturally magnificent. I could and do start my day listening to this spiritually uplifting CD almost everyday. It is a wonderful way to get off to a pleasant peaceful start, but also a nice way to come home in the evening if you have a CD player in your car. I highly recommend it to all.

Andrea Bocelli-Sacred Arias.......2006-08-25

Excellent listening. Voice quality and tone is superb. Brings tears to my eyes when I envision listening to this in a church setting.

An "experience" of sacred arias more than "listening" of sacred arias.......2006-04-28

I bought this CD's special edition with DVD, and I am impressed by bocelli's singing in this album. I have heard many voices singing sacred songs, and christmas songs, but very few singers can achieve the "sacred atmosphere" that bocelli devotes when he sings. He may not have a "strong" voice as opera singers, but I think singing these sacred songs, devoting the "sacred atmosphere" to the audience is much more important, the voice actually is just a tool that helps a singer to achieve the result. For real, I have heard some CD by some chorus that perform sacred arias, but they did not move me as much as this CD does, mostly not even close. Personally I like "O come all ye faithful", "silent night", all "ave maria"'s, "domine deus", "cujus animam" the most. When I listen Bocelli's singing I focus on what he tries to devote in singing more than his voice color, because in terms of voice color he surely cant be compared with pavarotti or domingo, so why compares? The way of listening him and listening real opera singers is different man. But the reason I gave only this CD four stars is that I have heard several sacred arias from this album performed by his voice teacher, the legendary tenor Franco Corelli. I tried not to compare both...but I cant, not because Bocelli sings bad, he is already excellent, just Corelli is TOO excellent that cant be described by human language (well I think even Pavarotti is not even close to Franco Corelli, but this is just my opinion). Anyway if you want to "experience" the true beauty of sacred arias, this CD is highly recommended. And this is also a very good sacred aria album for beginning listeners who want to broaden their musical taste to sacred arias.

amazing talent.......2006-03-25

worth the price the songs are breathtaking and talent is indescribable

Perfect arias for the perfect voice.......2006-03-04

These are just terrific. How does Andrea acheive the range he does, and the power he has, without sounding too heavy or too light? His voice sounds like the perfect voice for these perfect arias.

I have noticed one concern with the CD. I have heard several clicks scattered here and there in the songs -- but the CD is clean and I feel confident it is not the machine. Has anyone else noticed this?

Sacred Arias [Special Edition with Bonus DVD]

Average customer rating:

A spiritual experience

Sacred Arias [Special Edition with Bonus DVD]
Andrea Bocelli , Giulio Caccini , Cesar Franck , Charles Gounod , Franz Xaver Gruber , George Frideric Handel , Jean-Paul Lecot , Eric Levi , Steven Mercurio , Wolfgang Amadeus Mozart , Louis Niedermeyer , Gioachino Rossini , Franz Schubert , Giuseppe Verdi , John Francis Wade , Richard Wagner , Myung-Whun Chung , and Santa Cecilia National Academy Orchestra Rome
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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Andrea Bocelli - Amore
Romanza
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Andrea Bocelli - The Opera Album ~ Aria
Cieli di Toscana

ASIN: B0000CE9VO
Release Date: 2003-10-14

Tracks:

Ave Maria
Sancta Maria
Ave Maria
Ave Maria
Panis Angelicus - Norbert Balatsch
Cujus Animam
Ingemisco
Ave Verum Corpus
Der Engel
Frondi Tenere... Ombra Mai Fu
Pieta, Signore - Norbert Balatsch
Domine Deus
Mille Cherubini In Coro - Norbert Balatsch
Silent Night
Adeste Fideles (O Come, All Ye Faithful) - Norbert Balatsch
Gloria A Te, Cristo Gesu (The Hymn Of The Great Jubilee)
Agnus Dei
I Believe

Amazon.com

When he was growing up, Andrea Bocelli recalls finding inspiration in a favorite recording of sacred music performed by tenor legend Franco Corelli. Bocelli--who in the meantime has come to inspire millions of fiercely loyal fans himself--returns to the genre as the guiding theme of Sacred Arias. These performances are filled with the singer's phenomenally well-known vocal signature: his flair for long, sweetly floating high notes and the gentle sense of cadence he brings to a melody. It's a mistake to compartmentalize Bocelli into a singer of "operatic" versus "popular" styles: in truth his approach is at heart the same. Lack of color and control in his phrasing remains a drawback, but the emotional empathy Bocelli evokes is never in doubt. The arias collected here sample some of the most famous devotional pieces: Schubert's "Ave Maria" and Mozart's transporting "Ave Verum," as well as an arrangement of "Silent Night" in which Bocelli tries out his English. There's also a decidedly odd choice of bedfellows for a program of "sacred" music, such as a song from Wagner's Wesendonck Lieder (whose "angel" is the object of an overpoweringly erotic attraction) and Handel's figurative ode to a tree, "Ombra mai fu." Still, Bocelli sings with an unfeigned directness that is sure to expand his already enormous following even further. This new special edition includes two bonus tracks on a CD enhanced with a picture gallery as well as a full-length DVD of Bocelli in concert filmed at the Basilica of Santa Maria sopra Minerva in Rome. --Thomas May

Album Description

Special Edition includes enhanced CD with bonus tracks and concert DVD.

Customer Reviews:

A spiritual experience.......2003-11-27

The DVD is the full 77 minute concert with two featurettes previously released alone. The CD is the full 72 minute concert previously released alone, except that two bonus tracks have been added. The audio quality of each one is quite good. (If you have a Dolby Digital stereo, then you must go into the setup menu on the DVD to select Dolby Digital sound. The default music track is the stereo 2.0 sound.) The video quality of the DVD is astonishing.

Tracks:

Serse: Recitativo: Frondi Tenere
Serse: Aria: Ombra Mai Fu
Hercules: Recitative And Aria: Where Shall I Fly?
Semele: Recitative: Awake, Saturnia
Semele: Aria: Iris, Hence Away
Giulio Cesare In Egitto: Aria: Al Lampo Dell'armi
Giulio Cesare In Egitto: Recitativo Ed Aria: Dall'ondoso Periglio... Aure, Deh, Per Pieta
Giulio Cesare In Egitto: Aria: Priva Son D'ogni Conforto
Giulio Cesare In Egitto: Recitativo E Duetto: Madre!... Son Nata A Lagrimar - Stephanie Blythe/David Daniels/Martin Isepp
Saint Matthew Passion, BWV 244: Aria: Erbarme Dich, Mein Gott
Saint Matthew Passion, BWV 244: Aria: Konnen Tranen Meiner Wangen
Saint John Passion, BWV 245: Aria: Von Den Stricken Meiner Sunden
Saint John Passion, BWV 245: Aria: Es Ist Vollbracht! - Stephanie Blythe/Emmanuelle Haim/Jerome Hantai
Mass in b, BWV 232: Agnus Dei

Amazon.com

This is a lovely recording. Stephanie Blythe's voice must be one of the most beautiful to be heard today: smooth as silk, warm as velvet, pure, dark, almost masculine at times, even in quality across a big range down to F-sharp. She can spin out endless phrases without strain. Her intonation is impeccable, her expressiveness heartfelt, simple, and direct. The program is a string of priceless jewels, opening with the famous "Ombra mai fu" from "Serse" (better known as Handel's Largo) and closing with the Agnus Dei from Bach's B minor Mass. However, with the exception of Juno's furious outburst of jealousy from Handel's Semele, the dramatic "Where shall I fly?" from his Hercules, and one fast, light aria from Giulio Cesare, everything is slow and primarily mournful. This seems to be in the nature of the contralto repertoire, but it does generate a certain sameness despite all attempts to create variety.

One of the highlights is the heartrending mother-son duet between Cornelia and Sesto from Giulio Cesare with the splendid countertenor David Daniels, but Blythe includes both Cornelia's and Cesare's arias, fulfilling a wish no doubt cherished by many great contraltos, but impossible to realize on stage. She seems more at home in Handel's worldly arias than in Bach's sacred ones, some of which--notably the "Erbarme dich" from the St. Matthew Passion--sound a little too operatic. The violinist who plays the wonderful obbligato here is not named (and often inaudible); the fine wind soloists in the St. John Passion are also unidentified. The orchestra is good but rather stiff, the rhythm pedantic, the style, with normal tuning, semi-baroque. This is underscored by the truly baroque gamba solo in St. John. However, the beauty of the singing triumphs over all misgivings. --Edith Eisler

Customer Reviews:

When I directed her in muscials in High School, I knew she was special.......2005-07-08

I was Stephanie's teacher in High School and directed her in several theatrical productions. Not only was she an immensely talented actress, her voice always took my breath away. The other instructors and myself knew that Stephanie had "IT" and would someday be recognized for all the beauty her voice contains. I have seen her perform live and each and every time am amazed at the depth and feeling in her voice. This cd will not disappoint.

What a superb CD!!.......2005-02-27

WOW,

I bought this CD after I discovered this artist totally by accident (well, I usually do not listen to the vocal selections on the sampler CD from the British magazine "The Gramophone"). I guess that it was either fate or luck that made me listen to her selection of Wagner Lieder.

As I have always been a fan of alto/contralto's, I find Stephanie Blythe's voice to be smooth, creamy, solid, and very thrilling!!! I really like all of the Handel arias (which are top notch!!), and I will spend more time with the Bach.

This Virgin Classics CD is up to Virgin's usual high standard of recording, though I do wish that her voice was more centered between the right and left channels. Then again, my new system still needs some dialing in in my room.

I would highly recommend this CD to anyone who likes vocal music, opera, and best of all, for people who simply like stellar singing!!!

Well worth the 5 stars!!!

A Blythe Spirit and a Magical Duet With David Daniels.......2004-09-02

Contralto Stephanie Blythe has a warm, fluid voice that reminds me immediately of countertenor David Daniels, especially since she sings more accurately in the mezzo-soprano range. What they have in common is an artful blending of male and female vocal characteristics that produces a strong sound, rich and seductive. Dramatically she is not quite at his level yet, but it is a tribute to her interpretative talents that she can convincingly sing both Cesare and Cornelia in "Giulio Cesare in Egitto" in the four beautiful arias here. The disc's high point is in fact, a mother-son duet performed with Daniels, "Madre!...Son nata a lagrimar". Their voices meld together wonderfully. What I find intriguing is how his higher, more nuanced voice brings out the dramatic intensity of the piece, while Blythe's superb lower register brings out a lovely contrast since her voice dips deeper than Daniels'. It is as perfect a match as you'll hear in the Baroque world.

The remainder of the Handel arias displays her exceptional range, especially the plaintive "Ombra mai fù" from "Serse" and the vocal agility she displays in "Iris, Hence Away" from "Semele". The second half of the disc features four arias from Bach's "Passions", all more spiritual in tone than the Handel pieces but not as interesting dramatically. She still sounds lovely, but a certain monotony creeps into the last half-hour since these arias seem to create the same dream-like atmosphere and consequently do not require her to utilize her interpretative skills fully. John Nelson conducts the Ensemble Orchestral de Paris effectively, and perhaps to embody the spirit of the Bach pieces, the disc was recorded in a church, the Eglise Notre Dame du Liban in Paris. It is an impressive recital debut and makes one look forward to Stephanie Blythe's next work.

La Reina!.......2003-10-13

Stephanie Blythe is a name honored in the circles of the music cognescenti where she is considered nearly without peer as the reigning contralto of the day. In this very generous sampling of arias by Handel and Bach the reason for such admiration/devotion becomes readily apparent. Blythe may be called a 'contralto' and, indeed, she has that lush dark burnished tone so often conjured by the contralto roles in opera and oratorio. But she has an amazing range that allows her to effortlessly scale the contralto to mezzo to lyric to coloratura like few other singers. Only Marilyn Horne comes to mind as one with the beauty of voice in tandem with impeccable musicianship and technique for comparison.

Opening this recital (accompanied by John Nelson conducting the Ensemble Orchestral de Paris) she wisely selects the well-known 'Ombra mai fu' and allows first time listeners to bask in the beauty of tone and perfection of execution she brings to every subsequent work on this CD. Unlike other singers who attempt this repertoire Blythe shows no audible break in register as she soars into the passionate stratosphere of 'Where shall I fly' from Handel's "Semele" or plumbs the depths of Bach's touching arias from both the St Matthew and St John Passions.

As far as the perfect display of all her gifts in one piece then her duet with countertenor David Daniels in the 'Madre..Son nata a lagrimar' from Handel's "Guilio Cesare" is that pinnacle. This duet has to be one of the most beautiful baroque experiences ever captured on disc. A singer to watch and collect!

Solid baroque.......2003-09-03

Blythe has an excellent voice. She isn't Marilyn Horne or Ann Murray or Sarah Walker, but she's first class nonetheless, and this album is certainly worth having. The knock on Blythe, in my judgment, is that she lacks emotion and fire. She just sings, and the listener's mind might stray. The duet from Julius Caesar is the finest feature of the album, and is simply glorious. David Daniels is in a class all by himself.

Average customer rating:

Quartetto Gelato

Manufacturer: Linus
ProductGroup: Music
Binding: Audio CD

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Rustic Chivalry
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Travels the Orient Express
Favourite Flavours - Best Of... (Import)

ASIN: B00066U2VA
Release Date: 2004-09-15

Tracks:

Chitarra Romana
Concerto Sopra Motivi DellOpera
La Boheme Prelude and Arioa
Dark Eyes
Danny Boy
Russian Medley
Piece en formede Habanera
O Sole Mio
Allegro
Rondo - Tempo di Minuetto
Addio Sogni di Gloria

Album Description

Linus Entertainment is proud to re-issue the first four albums by the critically acclaimed Quartetto Gelato. With members from three countries playing nine instruments and a repertoire that unites classical masterworks and operatic arias with tangos, gypsy fiddling and folk songs, Quartetto Gelato is one of classical music's most imaginative ensembles. They have sold in excess of 30,000 units in Canada alone over their 5 albums. Their latest album Quartetto Gelato Travels The Orient Express (2 70025) released in March 2004 is one of the Top 10 best selling Classical albums in Canada for the first half of 2004, according to Neilson Soundscan.

Average customer rating:

Soaring with Thomas Quasthoff
Excellent Collection of Sacred Arias
Quasthoff Focuses on Sacred Works and Makes Them New

Consider, My Soul: Sacred Arias

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

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Bach: Cantatas/Thomas Quasthoff

ASIN: B000H4VVCA
Release Date: 2006-09-12

Tracks:

Christmas Oratorio BWV 248Großer Herr, o starker König
Herr, dein Mitleid, dein Erbarmen
St. John Passion BWV 245Betrachte, meine Seel
Mein teurer Heiland, laß dich fragen
St. Matthew Passion BWV 244Mache dich, mein Herze, rein
Messiah HWV 56Behold, I tell you a mystery
The trumpet shall sound
The Seasons Hob. XXI: 3Vom Widder strahlet jetzt
Schon eilet froh der Ackersmann, Erblicke hier, betörter Mensch
The Creation Hob. XXVIII: 4Und Gott sprach: Es sammle sich das
Wasser unter dem Himmel zusammen, Rollend in schäumenden Wellen
Elias op. 70Herr Gott Abrahams, Isaaks und Israels
Es ist genug! So nimm nun, Herr
Paulus op. 36Gott, sei mir gnädig
Swing Low, Sweet Chariot (Arr. Meyer)
Deep River (Arr. Meyer)

Album Description

Thomas Quasthoff follows his internationally acclaimed and GrammyÂ® winning Bach Cantatas recording with an atmospheric program of sacred arias, including selections from oratorios by Bach, Handel, Haydn and Mendelssohn. Mr. QuasthoffÂ's warm, expressive bass-baritone voice perfectly suits this musicÂ—a genre that has always been both central to his artistic life and close to his heart. Pieces include HandelÂ's Â"The trumpet shall soundÂ" from the Messiah, Â"Schon eilet froh der AckermannÂ" from HaydnÂ's Die Jahreszeiten, and excerpts from BachÂ's St. Matthew Passion and Christmas Oratorio. The album also includes a special version of the spiritual classic Â"Swing Low, Sweet Chariot.Â"

With Thomas QuasthoffÂ's unique artistry supported by the acclaimed Staatskapelle Dresden, Consider My Soul is a revelation of beauty and power.

Customer Reviews:

Soaring with Thomas Quasthoff.......2007-03-18

On this beautiful CD,"Consider My Soul," Thomas Quasthoff,baritone extraordinaire, takes the listener to great heights with his renditions of arias from the "Christmas Oratorio", "St. John's Passion", "St. Matthew's Passion", and others.
The duet with Sibylla Rubens, from the "Christmas Oratorio", is achingly exquisite, as the two powerful voices-soprano and baritone - blend in sublime beauty and strength.
And what a joy to hear Quasthoff sing "Swing Low, Sweet Chariot",as a bonus track.
All one can say, is "Bravo!" and "Bravi Tutti!"

Excellent Collection of Sacred Arias.......2007-01-09

This is an excellent collection of sacred arias, sung by the incredible
talent, Thomas Quasthoff, one of the best male singers to come along
in a long time.

Quasthoff Focuses on Sacred Works and Makes Them New.......2006-11-26

Thomas Quasthoff continues to astonish us with the depth of his sensitivity to a broad range of vocal repertoire. Just when it seems as though he is settling in to the Romantic and Post-Romantic works he records this album of works by the masters of the earlier era.

Singing with the fine support of the Dresden Staatskapelle conducted by Sebastian Weigle, Quasthoff re-visits works that made him famous. From Bach he has selected arias from the Christmas Oratorio and from both the St John and the St Matthew Passions. The color and extensive range of his baritone voice are simply amazing and he brings to these arias conviction and communication. Likewise with the excerpts form Handel's Messiah he converses with solo instruments in a sense of uncanny equality. From Mendelssohn he offers arias from both Elijah and Paulus: few baritones can compare to his dramatic sense he brings to these works.

For this listener, ending the recital with versions of 'Swing Low, Sweet Chariot' and 'Deep River' diminishes the majesty of the CD. Not that his resonant voice is not as tender and warm as any recorded version of these spirituals, for the singing is rich and moving. It just feels like an abrupt change, or encore, to the heftier works on the CD. A small quibble. It remains a fine recording experience. Grady Harp, November 06

Ian Bostridge - J.S. Bach: Cantatas & Arias / Biondi, Europa Galante

Average customer rating:

a voice teacher and early music fan
TOWARDS THE HEREAFTER
a voice unsurpassed
STUNNING

Ian Bostridge - J.S. Bach: Cantatas & Arias / Biondi, Europa Galante
Johann Sebastian Bach , Fabio Biondi , Ian Bostridge , and Europa Galante
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Cantatas for Solo Countertenor

ASIN: B00004YA0X
Release Date: 2001-01-09

Tracks:

Aria - Ich Habe Genug
Recitativo - Ich Habe Genug
Aria - Schlummert Ein, Ihr Matten Augen
Mein Gott! Wann Kommt Das Schone: Non!
Aria - Ich Freue Mich Auf Meinen Tod
Sinfonia
Recitativo - Es Will Der Hochste Sich Ein Siegsgesprang...
Aria - Ja Tausend Mal Tausend Begleiten Den Wagen
Aria - Ich Armer Mensch, Ich Sundenknecht
Recitativo - Ich Habe Wider Gott Gehandelt
Aria - Erbarme Dich! Lass Die Tranen
Recitativo - Erbarme Dich!
Chor - Bin Ich Gleich Von Dir Gewichen
Sinfonia
Aria - Der Ewigkeit Saphirnes Haus
Aria - Sanfte Soll Mein Todeskummer
Recitativo - Dies Hat Gott Klar
Aria - Des Vaters Stimme Lies Sich Horen
Aria - Gott Ist Mein Freund
Sinfonia

Amazon.com

Tenor Ian Bostridge and Fabio Biondi, with his Europa Galante ensemble, collaborate in a hugely enjoyable program of J.S. Bach cantata arias (some transposed from their original settings) for tenor. The centerpiece is BWV 82, "Ich hab genug," more familiar in versions for bass or soprano. Here Bostridge poaches the soprano version and sings with vocal mastery and textual nuance. Throughout the varied program his effortlessly floating high register offers a sensuous touch rarely heard in most Bach performances, and it's matched by a rich, rounded sound throughout his range. Fortunately he reins in the overemoting that sometimes mars his lieder singing, while his sensitivity to the texts remains apparent everywhere. Most of the texts are about shucking off worldly cares for the glories of heaven, and the music, full of longing and hope, is often akin to a lover's pleas. Along with Bostridge's vocalism, Biondi's solos and the opulent tonal resources of his outstanding period band make this CD indispensable. --Dan Davis

Customer Reviews:

a voice teacher and early music fan.......2006-04-30

In contrast to the bass voice, which is frequently associated with flesh-and-blood characters such as Jesus and Peter, the tenor in Bach is often a disembodied prescence. To this supple, even-toned voice are entrusted the arias which may be properly called, poetic and rhetorical illustrations with the purpose of making evident, and so to speak palpable, this or that aspect of faith or of the life of the believer. The tenor voice becomes that of the repentant sinner, and thus of hope. Combine the names:Bach, Biondi and Bostridge and you have a MUSICAL MASTERPIECE!!!!!!Everything is good about this disc both vocally and instrumentally. Beginning the recording with the Cantata "Ich habe genug"(It is enough.) was very clever programming because after hearing it, the listener has to keep listening; it is so mesmerizing. Ian's voice combined with the lovely and lush tone of the flute is almost hypnotic. Biondi's skillful violin playing is exciting as shown in the Aria:"Enbarme dich!Lass die Tranen"(Have mercy on me); and also in the "SinfoniaBWV212". In fact,'Europa Galante'does an incredible job,not only do they just play the notes, but they perform with such vigor and excitement, one has to be drawn into the music. The Choral "Bin ich gleich von dir gewichen" added the voices of Giuia(sop),Carmignani (male alto) and Abete(bass)also well done. This is a disc with much variety and excitement; it's that characteristic that sets it apart from many other like renditions.

TOWARDS THE HEREAFTER.......2005-12-20

There is a very interesting and thoughtful essay accompanying this disc, by Michel Roubinet and quite superbly translated into genuine English by Hugh Graham. In it the author draws attention to some aspects of the pietist tradition of Lutheranism, in particular its strong emphasis on the worshipper as an individual, and even more particularly the recurring theme of death as the gateway to each individual's final fulfilment. This was the spirit of much of the poetry that Bach set in his cantatas, and it must have been to a great extent the particular strain of belief that underlay the transcendental musical inspiration of Bach himself. Bach knew love and he knew grief and he believed both to be God's dispensation. He knew his own talent, he believed that to be God's gift, and he worked to perfect it with an industry that would have been astonishing in someone who had far more perfecting to do. The spirit of his music is introspective, but it seems to me completely untouched by guilt or fear. Bach's talent, unlike Milton's, was not death to hide because for him death held no terrors.

A review of this recital in a Sunday newspaper was phrased in such extravagant terms of praise that I noted it as something to acquire. I am relieved to calculate that this review can only have been five years ago, so long does it seem that I have been failing to do anything about it, but the name of Ian Bostridge registered firmly with me, and I now own the disc with a good idea, obtained in the intervening period, of why the original reviewer was so impressed. Bostridge is not only highly accomplished, he has an exceptional voice in the first place. It is what I think of as a `true' tenor, as opposed to the `mezzo-tenor' timbre of Schreier or Padmore. In spite of this Bostridge has a quite remarkable low register, something that he needs frequently in Bach and nowhere more on this disc than in Ich Habe Genug, where he adapts the soprano version and shows his self-assurance by leading off with it. There is more than an hour's music here, it is all music of much the same type, but between composer and interpreters the experience was over in no time. Bostridge seems to me to hit the right expression in every piece without exception, and he is admirably offset by the Europa Galante group, not just the instrumentalists but also the three singers who perform the final chorale in Ich Armer Mensch.

In addition to the arias, recitatives and the one chorus, there are three short instrumental numbers, the disc being rounded off with a sinfonia from the Peasant Cantata, providing an unexpected and pleasant contrast to the unrelieved devoutness of the rest of it. The recorded tone is admirable, and the liner-note is of real value. Apart from anything else, the translation by Hugh Graham puts his fellow practitioners to shame. If you read the note in English without realising it is a translation, as I did, you would never know, or at least I never suspected.

I suppose it is slightly unusual for a young artist to introduce himself with an exhibition disc consisting entirely of music that is not only great but deeply serious and even solemn as well. However one of the most extraordinary things about Bach is just how strong his appeal has always been and always looks like being. The technical difficulty of his music that once seemed formidable seems so no longer, and in some ways he is easier to interpret successfully than most composers of similar stature. That does not detract in the slightest from what Bostridge has achieved here, and I would suggest that admirers of both great music and great singing would do well to be less dilatory about obtaining this disc than I was.

a voice unsurpassed.......2001-10-13

This CD is stunning. I am a cellist, and I originally bought it for some of the Bach pieces that featured prominent instrumental parts, but from the start, I was spellbound. The first selection, BWV 82A, is one of the most beautiful works of Bach that I have ever heard. Ian Bostridge's voice is spellbinding. I am looking forward to hearing much more, especially his lieder CDs.

STUNNING.......2001-03-11

This is the perfect recording for anyone who already loves the vocal music of J.S. Bach or for anyone who feels that Bach's music is too mathematical and non-emotional. Ian Bostridge is, arguably, the most emotional of all "serious" singers today. He interprets everything he performs and brings his own insights to his performances, whether, for example, the music be written by Bach or another of the singer's obvious favorites, Benjamin Britten. The music on this album, usually sung by bass or soprano, sounds very right for tenor, esp. for Bostridge's light, almost unearthly, sound. He is beautifully accompanied by an ensemble called Europa Galante which also plays three of Bach's sinfonias for orchestra, without voice. This is a stunning album which I highly recommend.

Angela Gheorghiu - Mysterium ~ Sacred Arias

Average customer rating:

No. Simply no. Sloppy, badly articulated, meaningless
I love it with my whole heart!
Classic beauty
WOW
Sacred music from an angelic voice

Angela Gheorghiu - Mysterium ~ Sacred Arias
Adolphe Adam , Johann Sebastian Bach , Gabriel Fauré , Evghenie Humulescu , Anton Pann , Franz Schubert , Gheorghe Popescu , Johannes Brahms , Felix Mendelssohn , Giacomo Puccini , Pietro Mascagni , Louis Niedermeyer , Gheorghe Cucu , John Francis Wade , Ion Marin , Angela Gheorghiu , Romanian National Chamber Choir Madrigal , and conductor Marin Constantin
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

Magnificats | Vocal Non-Opera | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music

The Decca Records Store | Specialty Stores | Music
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The Essential Angela Gheorghiu
Angela Gheorghiu - Casta Diva / Pido
Angela Gheorghiu - Arias
Diva
Roberto Alagna & Angela Gheorghiu - Duets & Arias

ASIN: B00005OC08
Release Date: 2001-09-18

Tracks:

Tatl Nostru
Priveghiati Si Va Rugati
Stihuri Din Catavasiile Intampinarii Domnului
Lubi-Te-Voi, Doamne
O Holy Night
Mille Cherubini In Coro
Pie Jesu
Wiegenlied, Op.49 No.4
Auf Flugeln Des Gesanges, Op.34 No.2
Salve Regina
Ave Maria
Pieta, Signore
Quia Respexit
Ave Maria (Ellens Dritter Gesang)
Adeste, Fideles

Amazon.com

At first glance, this looks like another of those star turns in which a highly publicized singer tackles material calculated to broaden her appeal. But it's much more than that, for Angela Gheorghiu, in addition to possessing one of the great voices of our day, exhibits an affinity for most of the 15 selections on this highly attractive disc. She opens with Romanian Orthodox works that are compelling in their heartfelt simplicity. The rest of the program includes standards, like the Schubert Ave Maria, and traditional Christmas songs, such as "O Holy Night" and "Adeste fideles" (both gorgeously sung with a restraint that averts sentimentality), along with others ranging from the familiar to the seldom heard. One of these rarities is the high point of the disc: Niedermeyer's "Pieta, Signor," sung with spectacular intensity and boasting some thrilling trills. Gheorghiu's so good that this Christmas stocking stuffer becomes a disc for all seasons. --Dan Davis

Customer Reviews:

No. Simply no. Sloppy, badly articulated, meaningless.......2006-05-09

I admire Angela Gheorghiu's voice enormously. It's a fabulous colour - dark, with strength and metal and passion - and she's clearly a very intelligent singer. I've heard her doing some wonderful things, but side by side, I've heard her perpetrate some atrocities. Her Verdi album was for the most part phenomenally good (with the exception of an atrocious "Caro nome"); her Puccini album had some excellent things in it; her singing of Amina in Donizetti's L'elisir d'amore was surprisingly delightful; her Violetta in La Traviata was wonderful to watch and mostly beautiful to hear. But this!

No. And no.

Almost invariably, singers who produce a "Sacred Album" seem determined to display the very worst of themselves. Renee Fleming perpetrated a sloppy sentimentality that one feared only too likely to occur in her recent album; Sumi Jo produced some of the most horrid sounds in the worst of taste that could be possible with a voice that is as good as hers; and so on and so on. Yet there are exceptions to the "Sacred Album" rule of thumb... and I had hoped this album would be one of them.

It was not. Almost without exception, this was unremittingly awful. It is not one of Ms Gheorghiu's better efforts. Admittedly, there are times when Ms Gheorghiu has produced recordings that are not worthy of her talents - I call to mind her completely unstylistic "Lascia ch'io pianga", among others - but the voice itself is a very, very good voice indeed, not a "run of the mill" voice. I suppose one must expect the good with the bad when one listens to such a unique talent as this often fabulous soprano.

I'm so sorry... but this was one of the bad.

I love it with my whole heart!.......2005-12-15

This won't be as long or detailed or even knowledgable as the previous two reviews. Fortunately, they are both positive where it counts - Angela is well-named, has the voice of an angel. Soft, textury, intense, variegated as some of the yarns I love to knit!

I'm not sure if there could be a human being in the world who failed to appreciate and LOVE this CD. My whole heart adores listening to it!

Janet Knori, author of "Awakening in God"

Classic beauty.......2005-12-10

This is such a beautiful collection, and you can hear that these songs mean a lot to Angela Gheorgiou. I really like the concept of this album, putting together Western classics and spritual songs from her homeland. She sings these very traditional songs like O Holy Night with so much feeling. Her English is very nice, very clear. Mille Cherubini In Coro and other commonly performed Christmas songs sound very fresh in her interpretation. The classical sacred works like Pie Jesu are great too, this piece she sings in such simple, soft, unbelivably beautiful way. The chorus is fantastic, they have a unique sound.
I like the cover too, Angela is made to look like an angel from Orthodox icon.
If you can find copies of this album, it's well worth getting.

WOW.......2005-11-26

A friend of mine suggested this release after I kept on raving on how beautiful Renee Flemings recording of Sacred Songs was. And Ms. Gheorghiu certainly doesn't have to hide behind Renee! Her voice has a tad more ping than Renee's and it's slightly darker but it has this mysterious glow (Excuse my bad descriptions) that makes each of these songs unforgettable. A perfect addition to my ever growing collection of operatic discs. Brava Angela!

Sacred music from an angelic voice.......2004-03-01

'Mysterium', Angela Gheorghiu's offering of sacred music from both the Romanian Orthodox and Western spiritual traditions, is a very personal statement from this great soprano. She grew up during the infamous Nicolae Caescescu dictatorship, where religious music, though barely tolerated, was still one of the few ways one could express oneself and escape the terrors of everyday life. All of this music, both Romanian and European, has very strong spiritual and emotional significance for Gheorghiu - in fact, the album is dedicated to her sister `Nina' (Elena Burlacu Dan, who was killed in a car accident in 1996). The soprano's astonishing voice, huge palette of tonal colors, superb technique, dramatic fire, and most importantly, her genuine faith, total sincerity and commitment, and her humility make this CD a must for anyone even remotely interested in any of this repertory.

One of the things I most admire about Gheorghiu is her desire to share the music of her homeland with the rest of the world, and this CD begins with four mesmerizing selections of music from the Romanian Orthodox Church by late 19th and 20th century composers. These evoke for Gheorghiu and the listener the awe and mystery of Romanian monasteries with their incense and candle wax. Although this music is traditionally sung a capella, it is here sung with orchestral accompaniment - Gheorghiu did check with religious authorities in Bucharest to make sure this was, er, kosher. Actually, some of the intervals and melismas are very reminiscent of Jewish music, and I'd be very interested in learning which tradition borrowed what from whom. The first sound we hear on the disc is the toaca, a wooden percussion instrument used in lieu of bells to call the faithful to prayer. This leads into `Tatal Nostru', a Romanian version of The Lord's Prayer, which immediately shows the arresting, soulful quality of Gheorghiu's voice and ends on a gorgeous floated 'Amen'. `Privegati e si rugati' (`Watch and Pray') is equally beautiful. `Stihuri din Catavasiile intampinarii Domnului' (Verses from the Tellings of the Meetings of the Lord') is the most elaborate of the compositions here, a call and response on the words 'Slava tie Doamne' ('Glory to you, O G-d) contrasting with the more introspective `Iubi-te-voi, Doamne' (`I love Thee, O Lord').

It is a pity that Gheorghiu couldn't devote an entire album to this Romanian music. In particular, I wish she had sung the stunning carol `O ce veste minunata' that her husband Roberto Alagna recorded for his Christmas album, if for no other reason than Decca would have provided the texts and translations that EMI didn't! Still, the Western material which follows is of a very high standard. I applaud Gheorghiu for bringing out such rarities as the Puccini 'Salve Regina' and the Mascagni 'Ave Maria' (based on the intermezzo from 'Cavalleria Rusticana'), in addition to the famous Schubert version of the prayer. And, of course, we have 'popular' sacred songs and Christmas carols that are also dear to the soprano. An otherwise stunning version of `O Holy Night', with rich, broad phrasing and a spectacular high C, is marred slightly by her singing it in English instead of the original French. `Mille cherubini in coro' is the sweetest and tenderest lullaby imaginable, as is the famous one by Brahms. We go a bit more into 'art song' territory with Gheorghiu's laughter-filled, tender and seductive 'Auf Flugeln des Gesanges'. Oratorios are represented by 'Quia respexit' from the Bach Magnificat, which makes me eager to hear Gheorghiu sing the soprano lead in the Mozart as well as the Verdi Requiem she has already recorded, and the 'Pie Jesu' from Faure Requiem. Despite Gheorghiu's palpable sorrow, this is a bit of a disappointment because she seems to have trouble actually pronouncing the word 'requiem'. A truly 'joyful and triumphant' 'Adeste Fideles' concludes the album.

However, the highlight of the Western pieces is Louis Niedermeyer's `Pieta, Signore'. I was surprised that Gheorghiu included this since it is a piece I usually regard as tenor property - I have recordings by Bjorling, Kraus, and Pavarotti. She makes this into a mini-opera, a drama of repentance and plea for G-d's mercy with glowing tone, impassioned urgency, and magnificent trills. I only wish she had taken the reprise pianissimo as Bjorling did.

Of course, one must acknowlege the superb work of the Madrigal Choir, who are full and equal partners to Gheorghiu - I'm a choral singer, so I know! The blend of sound is gorgeous and they are adept in every style and in every language on the program, English included. I hope to find other CDs featuring them, and that Gheorghiu (who loves them) works with them again. Ion Marin does a fine job conducting the London Philharmonic and instilling the proper Romanian spirit into these English musicians.

I have somewhat mixed feelings about the notes. Although there is good biographical information about Gheorghiu and her relationship to this music, there isn't enough information about the music itself, and some of the comments about the 'desacralized cosmos' come off as somewhat pretentious for a CD booklet. Also, the Madrigal Choir sing in all the Romanian selections, not just the two they are credited for. Finally, the cover really is unfortunate. I understand that they were trying to paint Gheorghiu as a Romanian Orthodox icon, but it comes out looking rather cheesily new age/heavy metal.

Tracks:

Pieta, Signore (Aria Di Chiesa)
Ave Maria, D.839 (Inno Alla Vergine)
Serse - Ombra Mai Fu (Largo)
Ave Maria
(OrchMottl): L'Ange
Requiem - Ingemisco
Adeste Fideles
Ave Maria
Ave Verum Corpus, KV 618
Petite Masse Solennelle - Domine Deus
Agnus Dei
Panis Angelicus
Granada
Vaghissima Sembianza
Ti Voglio Tante Bene
Mon Ciel, c'est Toi
Il Canto Della Rinuncia
I Love Thee
Because
Carretiere
Tu Lo Sai
Pourquoi Fermer Ton Coeur?

Tracks:

Mammina Mia
Te Quiero
Core 'ngrato
Senza Nisciuno
Adda Turna
'O Paese d' 'o Sole
Pecche?
Fenesta Che Lucive
Piscatore 'e Pusilleco
Tu, Ca nun chiagne!!
I' te Vurria Vasa
Tora a Surriento
Dicitencello Vuje
Gaupparia
Silenzio Cantatore
Voce 'e Notte!
'O Maranariello
Passione
'O Sole Mio
'O Surdato 'Nnammerato
'AVucchella
Torna!
Addio, Mia Bella Napoli

Customer Reviews:

An awesome display of vocal fireworks.......2004-05-21

If it's a tenor voice you want to hear look no further. Franco Corelli is undisputedly one of (if not the) greatest tenors of the 20th century. His voice is capable of unbelievable power and exquisite pianissimo's. The broad range of religious arias, Italian songs and arias is enough to keep anyone's attention and have them panting for more. I recommend this wholeheartedly. Enjoy...

A Great singer, BUT..........2002-11-05

First of all: in my opinion I think it would be hard to find any other tenor with more thrilling sound than Franco Corellis.
But what goes wrong when it comes to his studiorecordings? It sounds too often that he wants to surpass oneself, like he wants to give us even more broadly tones all the way up( of cource his high c in "Granada" is good and the ending of "sole mio" is unbelievable) and it only will go at the expense of his overtones, because he uses too much muscles and is too heavy. The result of it: you get tired listening to him. And for Heavens sake: Whats the use for him to sound more manful?!!!!
Of course some songs here are good, but maybe only 10 out of 44, and thats not good enough for such a GREAT singer.
At last, why does he sing "off the voice" in Bach/Gounods Ave Maria? It`s so unnecessary, beacause he really had breath enough!
In my conclusion I will not recommend this recording, Because it`s such a disappointment.

Review..........2002-01-18

I own this C.D. and I have listened to it many, many times. Allthough I understand the feelings of the reviewer saying the songs are sang by the same fiery tone, I don't understand them fully. I would come to this conclusion if I would have listened to this the songs on a (too) soft volume.

If you really listen to it, not as backround music , but so you can hear it well and you aren't doing anything else, you will notice with how much passion a lot of the songs are sang by Corelli. Core 'ngrato is filled with passion, and I think Corelli is unsurpassed with that song. He didn't have lack of musicality either... Perhaps some more lessons would have done him good, but almost everyone could use some more. I even say that listening to some of Corelli's recordings is like having a singing lesson.

I would really recommend this C.D. if you are interested in his voice. the Core 'ngrato, Ave Maria and O sole Mio are great for instance. If you want to try full opera recordings try Il trovatore, Norma or Andrea Chenier

Unequalled Neopolitan Songs.......2001-05-16

Franco Corelli, who sang from 1951 to 1975, was the greatest tenore di forza of the postwar era. A powerful and exciting singer, never a subtle, elegant, or refined one, he had his detractors (who called him crude, vulgar, self-indulgent, and who lambasted his execrable French), but there can be no argument about the quality of his voice, a big, vibrant tenor with a thrilling timbre (often described as rich, dark, or baritonal) and a brilliant, secure top that must have been the envy and despair of other tenors. A nervous performer repeatedly subject to pre-performance jitters and anxiety attacks (a wag once said of him that Corelli could always think of more reasons not to sing than to sing), once onstage he was a generous singer who gave fully of himself and, like Caruso, poured out his magnificent voice unstintingly, never holding back.

The voice itself was one of the glories of the generously-endowed operatic scene of the Fifties and Sixties, and one of greatest tenor voices of the century. Herbert von Karajan said of Corelli, "A voice of heroic power, yet with great beauty of tone; darkly sensuous, mysteriously melancholic . . . but above all, a voice of thunder and lightning, fire and blood." Harold C. Schonberg, senior music of the New York Times, reviewing Corelli's Metropolitan debut in 1961, noted that his voice "has something of an exciting animal drive about it, and when Mr. Corelli lets loose, he can dominate an ensemble," and later described his voice as "a force of nature, an act of God, the vocal equivalent of an earthquake, volcano or hurricane." The distinguished musicologist Paul Henry Lang writing in the New York Herald-Tribune called Corelli "a latter-day Caruso." Alan Rich of the New York Herald-Tribune wrote of him, "There is no tenor in modern times, Italian or otherwise, whose voice rings out with greater vibrancy, whose every tone carries with it emotion at white heat. The sounds he makes, seemingly without effort, are dazzlingly bright, urgent, and communicative." Since Corelli's retirement we haven't heard anything remotely like him, and those of us who know his voice (and Bjorling's) can perhaps be pardoned for finding the "three tenors" so popular today somewhat anemic in comparison.

I have been an admirer of Corelli, a collector of his recordings, and a follower of his career since the late 1950s (when he had not yet sung in America, and his only recordings were Italian Cetra imports). I have just about everything he recorded. There is no tenor voice before the public today equal to this one, and I urge you not to miss it.

But the two-CD set under review here is not the place to start. If you are new to Corelli, I recommend the EMI single CD "Heroes" or the EMI two-CD set "Franco Corelli," with their heavy doses of his typical operatic fare, as ideal introductions to this rewarding singer. Corelli was above all a creature of the opera house, in his element singing Puccini, Verdi, and verismo Italian opera. The set under review here, misleadingly entitled "Songs and Arias," contains in fact only one aria, a very atypical one: Handel's "Ombra mai fu" from "Serse" (made famous by a Caruso recording). Indeed, some of the composers represented here-Handel, Schubert, Bach, Mozart, Rossini-are in fact stylistically very far from the kind of singing one associates with Corelli. A couple of the songs, "Because" and Grieg's "I Love Thee," are mildly comical in Corelli's overpoweringly Italianate and operatic renditions. But this is a set well worth owning for anyone who knows and likes Corelli. There is a first-rate Ingemisco from the Verdi Requiem, the traditional religious songs are all sung with seriousness and devotion, and most important, the bulk of the set comprises Neopolitan songs, which Corelli sings superbly. (I think he sings them better than anyone.) Of these my own favorite is "Core n'grato," a powerful song, and Corelli's recording of it is unequalled: there is a prodigious outpouring of bronzen tone here that must be heard to be believed. It's true that some of the orchestral arrangements are corny and dated, but with gloriously gutsy, full-blooded singing like this, from one of the greatest tenor voices of the century in its prime (all the recordings here are from 1961 to 1965), I can overlook the arrangements. These two CDs are very generously filled (22 songs,77 minutes for one and 23 songs, 78 minutes for the other), and include, I believe, everything Corelli recorded for EMI that wasn't opera.

If you like Corelli, if you like Neopolitan songs, you'll want this. But it's not the place to start in appreciating Franco Corelli.

Not a Corelli fan and even less now after hearing these CDs........2001-01-17

Corelli's voice was quite large,but I'm not very sure about it's beauty.He is much better in operas,but on these discs,I find his singing annoying.To the reviewer who wrote the Major Disappointment review and included Di Stefano in those not having a beautiful voice,I'd have to say that you obviously don't know what you're talking about.

Tracks:

St. Matthew Passion, BWV 244 - Arias And Choruses: Part 1 : 1. Chorus : Kommt, ihr Tochter, helft mir klagen - Chorale : O Lamm Gottes, unschuldig
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 1 : 3. Chorale : Herzliebster Jesu, was hast du verbrochen
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 1 : 6. Aria (alto) : Buss und Reu
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 1 : 8. Aria (soprano) : Blute nur, du liebes Herz
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 1 : 17. Chorale : Ich will hier bei dir stehen
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 1 : 20. Aria (Tenore) : Ich will bei meinem Jesu wachen - Chorus : So schlafen unsre Sunden ein
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 1 : 22. Recitative (Basso): Der heiland fallt vor seinim Vater nieder
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 1 : 23. Aria (Basso): Gerne will ich mich bequemen
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 1 : 25. Chorale : Was mein Gott will, das g'scheh allzeit
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 2 : 39. Aria (Alto) : Erbarme dich, mein Gott
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 2 : 42. Aria (Basso) : Gebt mir meinen Jesum wieder
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 2 : 46. Chorale : Wie wunderbarlich ist doch diese Strafe
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 2 : 52. Aria (Alto) : Konnen Tranen meiner Wangen
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 2 : 65. Aria (Basso) : Mache dich, mein Herze, rein
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 2 : 67. Recitativo (Soprano, Alto, Tenore, Basso) : Nun ist der Herr zur Ruh gebracht - Chorus : Mein Jesu, gute Nacht
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 2 : 68. Chorus : Wir setzen uns mit Tranen nieder

Amazon.com essential recording

John Eliot Gardiner's reading of the Matthew Passion is conceived and executed on the highest level, an example of period practice that is unlikely to be bettered any time soon. The performance as a whole vibrates with life: soloists are first-rate, and wonderfully well chosen for their respective parts, and the work of chorus and orchestra is exemplary. The recording, made in 1988 in the spacious ambience of Snape Maltings (England), is well balanced and exceptionally vivid. --Ted Libbey

Customer Reviews:

i stand corrected.......2007-06-28

i heard a performnce of the st matthew passion when i was 17 that steered me so far away from enjoying bach that i thought i was a lost cause. in the course of my undergraduate studies i performed and listened to various compositions by bach and finally became addicted to the monteverdi choir and all of their recordings. i still remained steadfastly against matthew, despite being told that i was crazy to not think it was simply one of the greatest pieces ever written. as a result of my love for gardiner and his choir; as well as the fact that i was singing the alto solos in my studies, i purchased this cd. wow. not only is the recording superb and the choir brilliant but the sheer genius behind the piece is unbelievable. the first six measures take the listener to a place that is not of this world. The countertenor sings so clearly and beautifully it doesn't sound human. i recommend this recording to anyone who loves bach and appreciates great choral music, but also to those who need a good place to start.

a voice teacher and early music fan.......2007-06-24

After hearing this recording, I was very happy that I chose to get the Cleobury rendition of 1994(also a DVD) mostly because of the soloists Gardiner chose to use. This must have been early in von Otter's career because her renditions were quite unemotional and dull. Fortunately Gardiner did use Michael Chance for the beautiful and very intense 'Erbarme dich, Mein Gott' for he sings it with great emotional investment as he does in the Cleobury recording. Even the Herreweghe disc has much better soloists; such as Ian Bostridge and Andreas Scholl.
BUT the Gardiner chorus is truly great!!It sings with much spirit; his tempos are very upbeat, but unfortunately one does not hear enough of the chorus on this recording, which is only highlights.
I actually bought it to compare Chance's 1988 rendition of "Erbarme" to the 1994 Cleobury disc; sounds the same; just as intense and as perfectly implemented.

actually pretty good.......2006-05-23

I am not fond of Gardiner in most of his Bach recordings, too rhythmical, fast and played with technical brilliance rather than with heart or spirit.

I however like his Christmas Oratorio, Johannes Passion and (strangely enough also) his Mattheus Passion very much.

Yes you have that peculiar loud and clipped singing now and then, but only at places where it's appropriate.
I find it refreshing too as an alternative to Herreweghes more consistent (and intimate) view.
With Gardiner there are more dramatic, theatrical mood swings and I don't find them cheap...I think Gardiner really shows some genuine spirit and involvement here.
The orchestral sound is a lot warmer sounding than most of his more recent Bach recordings and his rather disappointing Mass in B recording.

Some tempi are too brisk, true, but who needs only similar performed recordings in his library?

It took me a while to appreciate Gardiner's Mattheus and now I think it is one of the best recordings, next with Herreweghe I (still my favorite), Herreweghe II, Brueggen and Veldhoven. (Harnoncourt's Mattheus has some beautifull passages too - Bernarda Fink especially is excellent)

don't be disappointed.......2005-07-18

Only when you do not buy this version of the Mattheus Passion will you be disappointed. The very fact that this is the best recording of the Passion I know drove to write a review.

The Mattheus Passion is probably the most often performed large orchestral work in the Netherlands. Every year around Eastern concert halls great and small perform version in quality great and small. One of the best known performances is the one in Concertgebouw. This version recorded version can fill the gap for the rest of the year.

What surprises me, listing to the Passion for about 6 years now, is how over time the chills down my spine increase during this quite long work. Nearly all of the major choral parts give me a sensation as only music can give you; something like a cold shiver at the base of my skull (back-side).

If you are ready for such auditive mind altering experiences: get this version of the work and close the curtains, disable all communication devices (mobile, fixed telephone, PDA etc.) and take 3 hours off (take off for 3 hours).

Among the top 4.......2005-03-31

The Matthauspassion of J.S. Bach is among the world's greatest masterpieces of music, and Gardiner's Monteverdi Choir is one of the most professional choirs singing today, so right there we're starting off with an advantage.

The great opening Chorus for double-chorus and a children's choir of trebles is a masterpiece within a masterpiece. (Gardiner uses a children's chorus containing girls, an unusual choice.)

However, there are problems.

Gardiner seems more concerned with the choral parts --sticking to the strengths of his ensemble-- than the solo movements. The choruses, chorales and turbae (the short choral statements where the chorus speaks for the crowd, e.g. "crucify him!") are done well and with energy, smoothness, ensemble, and beautiful chording. But Gardiner seems to hurry through the solos to get to the choruses.

In my humble opinion, the Passion has both a dramatic character as well as a reflective character. When you hear it for the first time, it's the drama that grabs you. On subsequent hearings (esp. if you subscribe to the religious and spiritual beliefs presented in this work) it is the reflection that appeals to one, certainly to me. And at the time of this recording, Gardiner seems not to have been sympathetic to the reflective character of the work. If you're preoccupied with "Let's not get sentimental about this," this is what you'd produce. May I be forgiven for imagining that this is British Stiff Upper-Lip taken a little too far?

The tempi are a tad too fast in general.

However, look on the bright side:

Gardiner emphasizes the drama beautifully. This is a good choice for young people exploring Bach for the first time.

The soloists are excellent, especially Cornelius Hauptmann, who does a wonderful job of "Mache Dich mein Herze rein," --make Thou my heart pure. In spite of Gardiner's hurrying, Hauptmann sings a tender, heartfelt aria that is a highpoint of the work.

Other beautiful moments are
1. the contralto aria "Buss und Reu," where Bach's representation of teardrops are performed beautifully,

2. the solo+chorus number Ïch will bei meinem Jesu wachen. (Count the number of entries of the choral interjection, whose translation is roughly "So rest my cares . . ." there should be exactly 11, one for each remaining disciple.)

3. the chorale, O Mensch, bewein dein Sundre gross. Unforgettable;

4. the last piece, a lullaby and a dirge for the dead Jesus.

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