Search - Johann Sebastian Bach, Mindori Suzuki, Yoshikazu Mera :: Bach: Cantatas, Vol 5 (BWV 18, 152, 155, 161, 143) /Bach Collegium Japan * Suzuki

The striking thing about the works on volume 5 of the Bach Collegium Japan's Cantatas series is their unusual instrumentation. Cantata No. 18 uses only four violas and continuo; No. 152 calls for only soprano and bass soloists, with recorder, viola d'amore, oboe, and viola da gamba (and without violins or cellos); and No. 155 has a normal complement of strings, but features an alto/tenor duet with, of all things, obbligato bassoon. Cantata No. 161 also uses a normal string group, along with two recorders; it's famous partly because of its title, Komm du süsse Todesstunde ("Come, thou sweet hour of death"), but also because the surprisingly gentle titular aria (for alto and recorders) beautifully manifests the Lutheran view of death as the welcome opportunity to join Christ in heaven. The festive New Year's Day cantata No. 143, Lobe den herrn, meine Seele ("Praise the Lord, O my soul"), the only work on the disc with a substantial part for chorus, adds to the usual strings and continuo three high-pitched hunting horns and timpani; while the choir and orchestra could cut loose a bit more, they perform with good cheer, as well as skill. Yet this volume is really a chance for the soloists to shine--and shine they do. Midori Suzuki's pure boy-like soprano sounds a bit fragile and strained this time around, but she sings with plenty of feeling. Countertenor Yoshikazu Mera and bass Peter Kooy are, as always, eloquent, musical, and pleasing to the ear--as is tenor Makoto Sakurada, whose light, clear tone and sensitive delivery make for a performance worthy to stand beside those of his better-known colleagues. --Matthew Westphal