![]() ![]() ![]() #St matthew passion la opera fullThe soprano aria, ìAus Liebe will mein Heiland sterben,î sung by Nancy Argenta, is exquisite in its intimacy, and both Peter Kooij as Jesus and Gerd T¸rk as the Evangelist also show consummate ease in the full dynamic range of their rolesóthe dramatic force of certain passages is keenly exciting, but it is, I think, the soft passages that are the most memorable. If the ensemble is distinctive in its control and cultivation of the soft dynamic, the soloists are sensitive in this way, as well. Moreís the pity, as in other instances like the chorus ìSind Blitze, sind Donner,î the ensemble has fury and force in ample proportions. ![]() Sometimes the control has a shadow side: for instance, in the canonic duet with choral interjections, ìSo ist mein Jesus nun gefangen,î the solo lines lament Jesusís being led away captive while the choir, in their role as the crowd of onlookers, exclaim their objection: ìlet him go, stop, unbind him!î Here the choir seems rather too controlled and soft the objections become more like furtive comments among the crowd than forceful attempts to intercede. Two chorales, the emblematic ìO Haupt voll Blut und Wundenî and ìWenn ich einmal soll scheiden,î emerge here not as familiar pauses between events, but as moments of depth, deepened through the breathtaking control of the rendition. Among Bach ensembles, few can rival the Bach Collegium Japan for clarity and control, a control that is unflaggingly maintained, though best heard here in stunningly beautiful soft passages. ![]()
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