Showing posts with label Bernarda Fink. Show all posts
Showing posts with label Bernarda Fink. Show all posts
Wednesday, April 22, 2009
Sunday, April 12, 2009
Scarlatti: Il Primo Omicido [HMC901649.50] Fink, Röschmann, Rene Jacobs & Akademie Für Alte Musik Berlin
Scarlatti: Il Primo Omicido [HMC901649.50] Fink, Röschmann, Rene Jacobs & Akademie Für Alte Musik Berlin
Classical | Ape (Single Tracks) dbPowerAMP | 2CD/657MB | Covers+Tracklist | RS.com
Classical | Ape (Single Tracks) dbPowerAMP | 2CD/657MB | Covers+Tracklist | RS.com
| “ | Music’s first murder. The slaying of Abel by his brother Cain was one of the favourite subjects of the 18th century Italians, at the time when the oratorio was having a phenomenal success in Rome and Venice. It was most probably in one of the palaces of the “Serenissima”, and not a church, that Scarlatti first performed this astonishing “sacred entertainment”, worthy of a “verismo” opera, in 1707... God and Lucifer confront each other in the very soul of Cain, his brother’s voice is heard from heaven, and the “spatial” treatment of the tonal levels all contribute to the effectiveness of what is almost expressionistic music – there is nothing left out of this incredible Baroque Biblical “thriller”! | ” |
Wednesday, March 18, 2009
Thursday, March 12, 2009
Händel: Giulio Cesare (Excerpts) [HMC1951458] Larmore, Schlick, Fink, René Jacobs & Concerto Köln
Händel: Giulio Cesare (Excerpts) [HMC1951458] Larmore, Schlick, Fink, René Jacobs & Concerto Köln
Classical | EAC APE+CUE+LOG | 1CD/331MB | Cover+Booklet | RS.com
Classical | EAC APE+CUE+LOG | 1CD/331MB | Cover+Booklet | RS.com
| “ | Diapason d'or winner. There can be little doubt that for a long time to come there will be only one Cesare for anyone who wants to get to know Handel's most popular opera: this one" (Ivan A. Alexandre). Relive the great moments of this mythical recording here! | ” |
Sunday, March 1, 2009
Bach: Solo Cantatas Bwv 35, 169, 170 / Fink, Müllejans, Freiburg Baroque Orchestra
Bach: Solo Cantatas Bwv 35, 169, 170 / Fink, Müllejans, Freiburg Baroque Orchestra
Harmonia Mundi | 22 janvier 2009 | Classical | APE+CUE | 3% Recovery | 323 MB | Covers | 76'20"
| “ | Beginning with an ebullient and colorfully scored Sinfonia (giving a prominent role to the organ), Bach's cantata BWV 169 sets the tone for this superb program that highlights three of his finest works in the form for solo voice. It also represents some of mezzo-soprano Bernarda Fink's finest work on disc. Bach seems to have had a particular affinity for instruments inhabiting the alto range and timbre, including oboe d'amore and gamba--and of course for the alto voice, for which he wrote one of his greatest arias, "Erbarme dich", from the St. Matthew Passion (whose character and siciliana style is recalled here in the aria "Stirb in mir" from BWV 169). And Bernarda Fink has the ideal voice to translate and transmit to our ears the most heartfelt of Bach's settings, her warm, medium-bodied, agile (and sometimes mesmerizing!) mezzo perfectly capturing the temperament and mixed emotions of a weary soul that wells with hope for the true fulfillment and joy of the next, heavenly life. Needless to say this is difficult music to sing, but Fink's solid, confident musicianship and knowing interpretations show why she remains one of today's premiere soloists (not only in Baroque repertoire but also as a lieder singer). Among the more enduring qualities of these works are the many ways Bach uses music to comment on and illustrate the meaning of the texts (particularly in the last two arias of BWV 170), the unusually independent scoring for organ (how can you not love those recurring swirling figures in BWV 170's final aria!), and the affecting interaction of voice and instruments in the abovementioned aria "Stirb in mir" (Die within me, O world and all your affections). In this cantata Bach skillfully balances the text's overriding theme--a determination to give one's heart entirely to God, to part from the world and its gladly offered blandishments--while, at the work's end remembering that at the same time "we are also commanded to be true to our neighbor". And so, unlike the other two cantatas, this one ends with a lovely chorale (Luther's Nun bitten wir den heiligen Geist) that addresses this point, the chosen verse including the lines "O sweet love, grant us your grace...That we may sincerely love one another and live in peace and unity"--a beautiful sentiment, so simply yet movingly expressed through one of Bach's more engaging harmonizations. The sound, surprisingly not from a church but from a Berlin studio, is absolutely first-rate. Bravo Bernarda!--David Vernier, ClassicsToday.com | ” |
1. Gott Soll Allein Mein Herze Haben, Bwv169 : Sinfonia
2. Gott Soll Allein Mein Herze Haben, Bwv169 : Arioso
3. Gott Soll Allein Mein Herze Haben, Bwv169 : Aria
4. Gott Soll Allein Mein Herze Haben, Bwv169 : Recitativo
5. Gott Soll Allein Mein Herze Haben, Bwv169 : Aria
6. Gott Soll Allein Mein Herze Haben, Bwv169 : Recitativo
7. Gott Soll Allein Mein Herze Haben, Bwv169 : Choral
8. Vergnugte Ruh, Beliebte Seelenlust, Bwv170 : Aria
9. Vergnugte Ruh, Beliebte Seelenlust, Bwv170 : Recitativo
10. Vergnugte Ruh, Beliebte Seelenlust, Bwv170 : Aria
11. Vergnugte Ruh, Beliebte Seelenlust, Bwv170 : Recitativo
12. Vergnugte Ruh, Beliebte Seelenlust, Bwv170 : Aria
13. Geist Und Seele Wird Verwirret, Bwv35 : Concerto
14. Geist Und Seele Wird Verwirret, Bwv35 : Aria
15. Geist Und Seele Wird Verwirret, Bwv35 : Recitativo
16. Geist Und Seele Wird Verwirret, Bwv35 : Aria
17. Geist Und Seele Wird Verwirret, Bwv35 : Sinfonia
18. Geist Und Seele Wird Verwirret, Bwv35 : Recitativo
19. Geist Und Seele Wird Verwirret, Bwv35 : Aria
Part 1 | Part 2 | Part 3 | Part 4
Thursday, February 12, 2009
Canciones Argentinas (Piazzolla, Guastavino & Others) [HM901892] Fink, Fink, Piazzini
Canciones Argentinas (Piazzolla, Guastavino & Others) [HM901892] Fink, Fink, Piazzini
Classical | EAC APE+CUE+LOG | 1CD/273MB | Covers+Booklet | RS.com
Classical | EAC APE+CUE+LOG | 1CD/273MB | Covers+Booklet | RS.com
| “ | Souvenirs du Louvre. Alain Planès here concludes his recording of Debussy’s complete solo piano works, combining incidental music for the stage, isolated and occasional pieces with acknowledged masterpieces such as the suite Pour le piano. The portrait of ‘Claude de France’ comes into sharper focus, revealing a creator frequently racked by doubt and a ‘curious urge never to finish a piece’: many relatively early scores (Danse bohémienne, Rêverie, Mazurka) were never published during the composer’s lifetime, including three Images from 1894, not issued until 1977! | ” |
Subscribe to:
Comments (Atom)
Posts
