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J.S. Bach: Ach, ich sehe, itzt, da ich zur Hochzeit gehe, BWV 162

Netherlands Bach Collegium

Classical - Released October 30, 2022 | Brilliant Classics

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Bach : Johannes-Passion, BWV 245

Philippe Herreweghe

Classical - Released February 7, 2020 | Phi

Hi-Res Booklet
Bach’s St. John Passion, with its famous opening chorus traversed by shadows and light, is a powerful musical and spiritual reflection. Dramatic, grandiose, complex, resolutely theatrical: there has been no lack of superlatives to describe this supreme masterpiece of western music. Philippe Herreweghe and Collegium Vocale Gent present an accomplished reading that reflects their knowledge of the composer, based on extensive research and deepened by countless concerts. Soloists Krešimir Stražanac and Maximilian Schmitt demonstrate the breadth of their talents in the roles of Jesus and the Evangelist. © Phi
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J.S. Bach : St. Matthew Passion, BWV 244

John Eliot Gardiner

Masses, Passions, Requiems - Released March 3, 2017 | SDG

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Award - Gramophone: Recording of the Month - 5 Sterne Fono Forum Klassik
Recorded live at Pisa Cathedral in 2016, this recording of Bach's St. Matthew Passion, BWV 244, is of a piece with the touring Bach Cantata Pilgrimage recordings released in the early 2000s: it is rich yet lively, sung with precision yet a total sense of commitment in the moment. The singers -- the Monteverdi Choir of 30 with soloists all drawn from the choir, except for Jesus (Stephan Loges) and the Evangelist (James Gilchrist) -- performed from memory, and the feeling that the text is being communicated directly is even greater than is usual with Gardiner. An unusual feature of the recording is that the soloists are not single per part; the soprano solos are taken by no fewer than five different singers. Several (try Hannah Morrison in "Aus liebe") are lovely, and the effect of a space between the congregational chorales and the focus on an individual soloist is fascinating. The hair-trigger alertness of the chorus in the big numbers like "Sind Blitze, sind Donner in Wolken verschwunden?" is also extremely compelling. Gardiner and the Monteverdi Choir offer Bach with the luxury of old-fashioned Romantic versions combined with the agility of historical performance, and they've never done the combination better than they do here. © TiVo
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Bach: Redemption

Anna Prohaska

Classical - Released June 26, 2020 | Alpha Classics

Hi-Res Booklet
Anna Prohaska asked Wolfgang Katschner and the Lautten Compagney at the outset of the coronavirus crisis whether they shouldn’t spontaneously organize a musical get-together in this period. This has now resulted in "Redemption". This is a sequence of music selected solely from Bach cantatas, compiled in keeping with the aforenamed conceptual association. "Redemption" has multiple meanings, for instance: can music give us consolation in times of sickness and crisis; can it open up emotional and contemplative spaces for us; is it redemptive for musicians to be the “instruments” in engendering music and therefore spirituality… ? Besides Anna Prohaska as soloist and three other singers, "Redemption" features a larger group of musicians – around twenty instrumentalists. These musicians serve a dual role: they expertly accompany the arias that Anna Prohaska sings and they also represent the concept of human interaction and a shared collective experience which has been missing during these times. © Alpha Classics
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J.S. Bach: St. Matthew Passion, BWV 244

Bach Collegium Japan

Classical - Released February 7, 2020 | BIS

Hi-Res Booklet
“A great joy”: this is how Masaaki Suzuki considers this, his second recording of the St. Matthew’s Passion, made twenty years after the first one, in the Saitama Arts Theatre in Japan in April 2019 for the BIS label. A great opportunity to revisit the work, as in the elapsed time, the conductor and his orchestra have nearly completely recorded Bach’s choral music, including the complete masses and secular and sacred cantatas. As is his custom, Suzuki works with European soloists for this new recording, like the splendid young German tenor Benjamin Bruns, playing the stupendous part of the Evangelist. There are other familiar soloists that feature here, such as Carolyn Sampson, Damien Guillon, Makoto Sakurada and Christian Immler. There is nothing monumental about this new intimate and refined version, which follows the fateful narrative with great sobriety. There is nevertheless a fervent level of impulse, as well as a certain innocence within this resolutely pared back Lutheran perspective - there is never any real search for theatricality. The exceptional instrumental quality of the soloists of the Bach Collegium Japan and the soft touches of the two choral ensembles is also worth highlighting. © François Hudry / Qobuz
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J. S. Bach: St John Passion

Concerto Copenhagen

Classical - Released February 24, 2023 | Berlin Classics

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Mendelssohn & Bach: Matthäus-Passion

The Bach Choir Of Bethlehem

Classical - Released March 22, 2024 | Les Productions Analekta Inc.

Hi-Res Booklet
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J.S. Bach: Johannes-Passion

Philippe Herreweghe

Classical - Released July 31, 2007 | harmonia mundi

Booklet
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Bach: Christmas Oratorio

Orchestra Of The Age Of Enlightenment

Classical - Released November 3, 2013 | Hyperion

Hi-Res Booklet
Bach's Christmas Oratorio, BWV 248, consists of a set of six cantatas, each with recitatives, arias, and chorales. Moreover, some of the music for this most solemn of Christian events was borrowed by Bach from his own secular compositions. Yet it is a unified work, designated by Bach himself as an oratorio, and the biblical narration of the Christmas story is worked into the usual recitative-aria structure. There aren't any melodies in the work that are really among Bach's greatest hits, but the ingenuity of the work as a whole lies in the way it's somehow greater than the sum of its parts. That's the appeal of this version by conductor Stephen Layton, four of his favored soloists, the Choir of Trinity College, and the period-instrument Orchestra of the Age of Enlightenment: it respects the small scale of the parts but treats the whole with the weight it deserves. Credit for the balance must go to Layton, who has gotten splendid results from the youthful Cambridge choristers in a variety of common repertory works. They enunciate clearly, hit the pitches precisely, and generally seem excited by what they're doing. The always lively Orchestra of the Age of Enlightenment is a perfect partner for the choir, and the soloists engage with the text and convey the feeling that they're in the ballpark of the ones who originally performed the work. There are more daring performances of the Christmas Oratorio on all fronts, but few that make such a satisfying and musical impression.© TiVo
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J.S. Bach : Johannes-Passion (St John Passion)

La Petite Bande

Classical - Released March 2, 2012 | Challenge Classics

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Veteran Dutch historical-instrument specialist Sigiswald Kuijken adopts a version of the one-voice-per-part procedure in this performance of Bach's St. John Passion, BWV 245, using four soloists and another quartet for the "ripieno" or choral passages. Refreshingly, he doesn't even try to claim historical authenticity for this in the interview-format notes, pointing instead to the "extremely natural balance with the instrumental ensemble" and the "textual expressivity his approach permits." He even concedes that for a major performance of this work, Bach would likely have had larger forces available. If you believe that the contrast between German Lutheran chorus and Italianate melody lies at the heart of Bach's appeal, forming a richness unparalleled since Albrecht Dürer infused Italian color into the severe German figures of his paintings, then look elsewhere. For the adherent of Kuijken's approach, however, this St. John Passion merits consideration, as much for the unexpected instrumental details emerging from Kuijken's La Petite Bande as for the work of the soloists; alto Petra Noskaiová is superb, but the others are a mixed bag. The sound, from Belgium's Academiezaal concert hall, is a major plus. © TiVo
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Johann Sebastian Bach : Jesu, deine Passion

Philippe Herreweghe

Sacred Vocal Music - Released February 1, 2009 | harmonia mundi

Distinctions 5 de Diapason
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BACH, J.S.: Cantatas, Vol. 9 (Gardiner)

Frances Bourne

Choral Music (Choirs) - Released September 22, 2009 | SDG

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Bach : Cantatas Vol. 14

Ton Koopman

Classical - Released January 1, 2003 | Challenge Classics

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Bach: Desire - Cantates 32, 49 & 154

Caroline Weynants

Classical - Released November 9, 2010 | Passacaille

Bach: Cantatas, Vol. 28

Lenneke Ruiten

Classical - Released April 1, 2013 | SDG

Booklet
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This is the 28th and final album in British conductor John Eliot Gardiner's cycle of Bach's cantatas with his Monteverdi Choir, and it comes with a two-page list of financial backers akin to the subscribers who might have financed secular music in an earlier day. The music was recorded, live with later tweaking, at St. Giles Cripplegate church, London, after the choir had completed its tour of continental churches, performing appropriate cantatas for the day or week of the concert (this one was not performed during Ascension Week, but it's hard to detect any loss of the immediacy of music-making that has been the series' trademark). The series doesn't exactly end with a bang, for the so-called Himmelfahrtsoratorium, Lobet Gott in seinen Reichen, BWV 11, is added to three cantatas; this recitative-heavy little oratorio, included because of its liturgical link to the cantatas (all the music was intended for the Feast of the Ascension), is rarely performed. But Gardiner and company show no evidence of flagging energy; the choruses of the cantatas depicting Christ's ascent into heaven are exuberant; Gardiner's warm humanistic tone is in evidence throughout; and the booklet comes with a fine installment of Gardiner's strikingly detailed engagement with the texts of the cantatas and Bach's response to them. A nice feature of this installment is that the soloists in a sense come full circle; bass Dietrich Henschel was featured in some of the earliest concerts in the project, while the other three soloists are new. It is safe to say that they will be feeling the influence of Gardiner's achievement throughout their careers. © TiVo

J.S. Bach La Passion selon Saint-Jean

Karl Forster

Classical - Released February 16, 2018 | Warner Music Group - X5 Music Group

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Graun, Telemann & J.S. Bach: Wer ist der, so von Edom kömmt

Lóránt Najbauer

Classical - Released March 19, 2021 | Glossa

Hi-Res Booklet
The conductor György Vashegyi and his ensembles, the Orfeo Orchestra and the Purcell Choir, are fluent in various fields of baroque and classical music, with a particular predilection for French baroque opera. But one of their favourite lines of work is Lutheran sacred music, and a good example of this is this beautiful work, "Wer ist der, so von Edom kömmt", a period pasticcio with pieces by various composers. Graun (a composer at the court of Frederick II who was greatly admired by his contemporary colleagues), rubs shoulders here with Telemann and Johann Sebastian Bach, as well as with a mysterious unknown, who wrote several of the most impressive passages in the work. In fact, this is a Passion Oratorio, a reflection on the events related to the martyrdom of Christ based on freely chosen texts without following a precise Gospel and without summoning the usual characters of the drama into an imaginary setting. The originality of this patchwork also lies in the distribution of the text where – contrary to many passions of the time – the events of the last days of Jesus’ life are told by chorales that float in the meditative atmosphere of the recitatives, arias and choruses. These chorales are especially impressive in the second part: the density of the writing, the unique dramatic harmonies, the arrangement of the voices are of such an exceptional quality that their author could definitely be Johann Sebastian Bach himself... whom the author of the essay included in the libretto, Gergely Fazekas, also points to as the possible compiler of this masterpiece. © Glossa
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J.S. Bach: Himmelfahrts-Oratorium

Philippe Herreweghe

Classical - Released October 1, 1993 | harmonia mundi

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Bach: Cantates pour l'Épiphanie: BWV 72, 81, 155 & 156

Montreal Baroque

Classical - Released November 1, 2013 | ATMA Classique

Hi-Res Booklet
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La Passion selon St Jean BWV 245

Leipzig St. Thomas Choir

Classical - Released February 4, 2013 | Rondeau

Booklet