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Sacred Oratorios - Verschenen op 23 april 2021 | Adora

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Sacred Oratorios - Verschenen op 23 april 2021 | Adora

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Sacred Oratorios - Verschenen op 28 december 2020 | Adora

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Sacred Oratorios - Verschenen op 18 december 2020 | Adora

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Sacred Oratorios - Verschenen op 18 december 2020 | Adora

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Sacred Oratorios - Verschenen op 13 november 2020 | LSO Live

Hi-Res Booklet
Few recordings exist of Beethoven’s unique oratorio which drew influence from Händel’s work Haydn’s The Creation and the Seasons. A revelation came in 1966 Philadelphia when Eugene Ormandy made a beautiful recording of the oratorio. Ormandy’s lead was then followed by several more recordings. But, the composition remains a rarity within repertoires, even the monumental Beethoven edition published by Deutsche Grammophone for the 200th anniversary of the composers birth omitted this deserving oratorio.Christ on the Mount of Olives’ writing and theatricality varies in an experimental fashion that would give birth to Leonore the following year and then Fidelio ten years later. Beethoven seems to oscillate between several genres with a writing style that mixes academia, operatic vocal virtuosity and innovation (stemming from his own language). The bad reception of his 1803 work seems to shadow this oratorio like a malediction.This new recording by Sir Simon Rattle, captured during a concert performed at the Barbican Centre in London in February 2020, turns a salutary spotlight onto an all too often neglected work. Elsa Dreisig plays the seraph with great virtuosity and Pavol Breslik as a determined Christ.It was the first time that a composer had had Christ sang by a tenor and not by a bass singer, as was tradition. David Soar accurately plays the role of Peter, who is somewhat treated as secondary on the score. The choirs are omnipresent in their representation of the crowds (the “turba”) and their cries and murmurs. The one hundred and twenty-five singers in the London Symphony Choir are the true heroes of this vigorous interpretation which is brought to life with energy and dramatism by a particularly inspired and elated Sir Simon. © François Hudry/Qobuz
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Sacred Oratorios - Verschenen op 9 oktober 2020 | Alpha

Hi-Res Booklet
Several years ago, Giovanni Antonini and the Alpha Classics label set an exciting objective: to create a complete collection of Haydn’s 104 symphonies, mirroring the works of composers from different eras so as to highlight their relevance today. This monumental edition should be completed in 2032, marking the tercentenary of the Austro-Hungarian composer’s birth.The project is gradually being enriched by other productions celebrating Haydn’s genius. The oratorio Die Schöpfung (The Creation) is a major part of his catalogue. Haydn was inspired after hearing an oratorio by Handel in London during a large commemorative concert. The event was significant because there were few early works being performed at the time, and the large orchestra and choir (nearly 1000 strong) made a great impression on Haydn, being unaccustomed to such large numbers.
The result was The Creation, a spirited oratorio that required a colossal amount of preparatory work and left him shaky. But it was worth the effort. The work was a huge success and has been performed ever since. Giovanni Antonini reveals a very lively chamber version with an excellent instrumental ensemble, a perfectly balanced vocal trio with soprano Anna Lucia Richter, tenor Maximilian Schmitt and baritone Florian Boesch, not forgetting the participation of the wonderful Bavarian Radio Choir.This new recording ranks among the highest of a long series of Haydn’s masterpiece. It’s thanks to the radiant performances, where the love of music blends with the simple contemplation of nature. A perfect recording. © François Hudry/Qobuz
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Sacred Oratorios - Verschenen op 2 oktober 2020 | Bella Musica Edition

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Sacred Oratorios - Verschenen op 4 september 2020 | CPO

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Sacred Oratorios - Verschenen op 29 mei 2020 | Aparté

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - 5 étoiles de Classica
Alessandro Scarlatti’s oratorio is an exciting drama of life, love and death, set in the fourth-century Roman Empire. Preferring to devote her life to God, Teodosia rejects the love of Arsenio, the son of the Roman governor, and welcomes death. St Theodosia of Tyre died at the age of eighteen, in the year 308. One cannot help but be struck by the dramatic strength and the vocal beauty of this work, performed here by a very talented casting, gathering Emmanuelle de Negri, Emiliano Gonzalez Toro, Anthea Pichanick, Renato Dolcini and the fiery orchestra Les Accents led by Thibault Noally. © Aparté
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Sacred Oratorios - Verschenen op 13 september 2019 | Decca

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Sacred Oratorios - Verschenen op 28 juni 2019 | Royal Concertgebouw Orchestra

Hi-Res Booklet
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Sacred Oratorios - Verschenen op 12 april 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Gramophone Record of the Month - Choc de Classica
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Sacred Oratorios - Verschenen op 5 april 2019 | Philharmonia Baroque Productions

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Sacred Oratorios - Verschenen op 29 maart 2019 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
Composed by Dietrich Buxtehude in 1680 for the church of Lübeck, where he had been working for ten years, Membra Jesu Nostri describes the scars of the Passion of Christ through a cycle of seven cantatas. The work owes its title to a Latin manuscript written by a relative of Saint Bernard. Typical of the pietism of 17th century Lutheran Germany, the piece is a descent into the darkness of suffering and an ode to the promise of consolation. Grounded in rhetoric, Buxtehude’s music influenced a generation of innovative musicians. It would later be an inspiration to Johann Sebastian Bach, who traveled to Lübeck specifically to meet Buxtehude.Membra Jesus Nostri was written for a five-voice ensemble. It requires a set of soloists with three lower voices and two upper parts, as well as a subtle instrumental accompaniment featuring two violins, five viols, and one basso continuo chose by the musicians. Some authors have seen the influence of the “Versailles Motet,” which Buxtehude knew well, in this setup. The influence of Italian music, especially Monteverdi, which he may have known through his interest in Schütz’s music, is also clear. The work is the testimony to Buxtehude’s incredibly expressive power and deserves to be considered as a masterpiece among other spiritual compositions such as Schütz’s Musikalische Exequien, Bach’s Passions and, on an instrumental level, Biber’s Sonates du Rosaire.According to Philippe Pierlot, who can be heard on the record, “Buxtehude is appealing directly to our senses and making us experience the suffering of Christ. We can feel the wounds, the blows, and the heart when it ceases to beat. Thanks to the genius of his music, the composer not only moves his listener to intense emotion, but also enlightens him, giving him access to the deep meaning of the text it sings” © François Hudry/Qobuz
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Sacred Oratorios - Verschenen op 15 maart 2019 | CPO

Booklet Onderscheidingen 5 de Diapason
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Sacred Oratorios - Verschenen op 8 maart 2019 | Oehms Classics

Hi-Res Booklet Onderscheidingen Diapason d'or
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Sacred Oratorios - Verschenen op 18 januari 2019 | Paraty

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Sacred Oratorios - Verschenen op 1 december 2018 | Musikproduktion Dabringhaus und Grimm (MDG)

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Sacred Oratorios - Verschenen op 23 november 2018 | Musique en Wallonie

Booklet Onderscheidingen 5 de Diapason