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Angelika Kirchschlager: Bach Arias
Johann Sebastian Bach, Andrea Marcon, Venice Baroque Orchestra
Angelika Kirchschlager: Bach Arias
Genre: Classical
 
  •  Track Listings (12) - Disc #1

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....  more »

     
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CD Details

All Artists: Johann Sebastian Bach, Andrea Marcon, Venice Baroque Orchestra, Angelika Kirchschlager, Giuliano Carmignola
Title: Angelika Kirchschlager: Bach Arias
Members Wishing: 1
Total Copies: 0
Label: Sony Classical
Release Date: 10/1/2002
Genre: Classical
Style: Opera & Classical Vocal
Number of Discs: 1
SwapaCD Credits: 1
UPC: 696998992429

Synopsis

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
 

CD Reviews

Rich and intelligent singing
01/02/2003
(5 out of 5 stars)

"Kirchschlager's voice is as smooth and creamy as butter, but this recording is not just about pretty sounds: Kirchschlager's singing is informed by a deep understanding of the music and the (predominantly German) text. Her phrasing and sense of musical line are impeccable. Although she's not a "baroque" singer, she blends rather well with the spiky instrumentalists of the Venice Baroque Orchestra and their soloist Carmignola, and nothing she does is stylistically inappropriate. I don't think I've ever heard a more affecting version of the "Laudamus te" from the B-Minor Mass. I also have a recording of the full B-Minor Mass with Kirchschlager and Seiji Ozawa (which I had to order from Europe, as it's not available in the U.S.), but the "Laudamus te" is far better here on this album of arias -- probably because Kirchschlager was able to pick the tempo and make her own interpretive decisions.This is a serious recording, and most of the selections are on the slow side, but it is one that rewards repeated listening."
Extradordinary musicianship and communication
Grady Harp | Los Angeles, CA United States | 03/06/2003
(5 out of 5 stars)

"Bach's arias have seldom sounded more cogent than in the lushly beautiful voice of Angelika Kirschlager. She manages to sing thses various arias with all the informed discipline of a baroque specialist but her talent takes the music much further. Without stepping out of the period she infuses these pieces with deeply felt emotional qualities. Listen to the "Erbarme dich" ("Have pity, God") and feel all the dramatic tension in this St Matthew Passion excerpt. In sensitive concert with the Venice Baroque Orchestra the "Laudamus te" from the B Minor Mass becomes as glorifying and lyrical as could be imagined. Kirschlager's ornamentation is subtle and never over-pushed. All of these attributes of this very fine recording are well demonstrated in the perfectly balanced "Vergnugte Ruh, Beliebte Seelenlust" ('Contented rest, beloved soul's desire'). Bach just doesn't get much better that the glories contained in this superb disc. Highly recommended - even if you don't like baroque music!"
Huh?
Giordano Bruno | Wherever I am, I am. | 11/21/2007
(2 out of 5 stars)

"There's a question in my mind why anyone who loves Bach would buy a whole album of excerpts, arias out of their meaningful cantata contexts, like a whole dinner of brussel sprouts, and all sung by the same voice in rather the same affective style. Such an album would need to be spectacularly performed, and this one isn't. The amazon editorial review speaks of "transparency", but you'll need X-ray ears to hear it. The Venice Baroque Orchestra proves again and again that using "original" instruments is no guarantee of getting Bach right; this performance is as heavy on the downbeat as a polka band in a resonant grange hall. Angelika Kirchschlager is not a Baroque singer, and it's obvious. She sounds quite a lot like the contralto in the Lutheran church choir I sang in as a teenager in Sweden. If I were feeling mean, I'd offer a translation of her surname from German.

Skip this one if you have any impression that I know what I'm talking about."