Hardly any other contemporary composer has succeeded in returning sacred music to such a firm position in the awareness of a larger audience, even outside the realm of religious services, as has Arvo Pärt from Estonia. To commemorate Arvo Pärt’s 80th birthday in the autumn of 2015, the Chor des Bayerischen Rundfunks under the direction of Peter Dijsktra is releasing a cross-section of the Estonian composer’s sacred music.

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First monographic recording ever published about Cristóbal Galán, master of the Spanish Royal Chapel under the reign of Charles II (end of the 17th Century), with a refined selection of his best religious works in Latin and Spanish.

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This release presents music by one of the most important electronic and contemporary composers Sikora Elzbieta.

SONGS

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Hei-Kyung Hong, the formidable Korean soprano, sings a selection of arias perfectly suited for her rich soprano voice. A soprano in the league of Schwarzkopf, te Kanawa, and Fleming, Hong is one of those artists who can easily change hats. She is equally comfortable as The Countess singing "Dove sono" as she is portraying Violetta in 'La Traviata.'
Her interpretation of "Caro nome" from 'Rigoletto' is enchanting and touching, while her flair for lighter repertoire comes alive in "Quel guaro il cavaliere" from 'Don Pasquale.' Hong's singing of "Ach, ich fühl's" rings of the frustration of lost hope and love that Pamina feels, and Micaela's aria from 'Carmen,' "Je dis que rien ne m'epouvante," is deeply heartfelt. Conductor John Fiore, a fixture at the Metropolitan Opera House, adeptly leads the Orchestra of St. Luke's in this thoroughly satisfying disc.

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God Bless America

AVE MARIA IN THE VIRGIN MARY B

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Two of Bach’s most beautiful cantatas prove ideal for Emma Kirkby’s artistry

One of the world’s brightest Baroque ensembles performing with one of the world’s most admired Baroque sopranos sounds an enticing proposition‚ and so it should. What is more‚ the solo cantatas on offer here are two of Bach’s most moving: Ich habe genug‚ that serene contemplation of the afterlife; and Mein Herze schwimmt im Blut‚ a relatively early work with a text which moves from the wallowing self­pity of the sinnner to joyful relief in God’s mercy. Each contains music of great humanity and beauty‚ and each‚ too‚ contains an aria of aching breadth and nobility – the justly celebrated ‘Schlummert ein’ in the case of Ich habe genug‚ and in Mein Herze the humble but assured supplication of ‘Tief gebückt’. This aria alone ought to make the cantata a more familiar one‚ but there is plenty more to recommend it‚ including a grief­laden first aria with obbligato oboe‚ a dignified chorale with obbligato cello‚ and recitatives whose expressiveness is enhanced by stoical string accompaniment. Both could have been written for Emma Kirkby‚ who‚ thrillingly virtuosic though she can be‚ is perhaps at her best in this kind of long­breathed‚ melodically sublime music in which sheer beauty of vocal sound counts for so much. Not that technique does not come into it‚ and Kirkby’s allows her to shape vibrato­less long notes and phrases with utter security and ravishing vocal quality‚ with only the occasional high note sounding slightly pinched. Above all‚ however‚ her intelligence and unfailing attention to text are a lesson to all; in ‘Schlummert ein’‚ the way her voice subsides almost to nothing‚ retreating into the orchestral texture at ‘fallet sanft’ (fall asleep)‚ is entrancing. The support of the Freiburg Baroque Orchestra is total‚ combining tightness of ensemble with such flexibility and sensitivity to the job of accompaniment that you really feel they are ‘playing the words’. The obbligato contributions of flautist Karl Kaiser and oboist Katharina Arfken‚ furthermore‚ are outstandingly musical. And if that were not enough‚ the Freiburgers also give one of the most satisfyingly thoroughbred accounts of the Violin and Oboe Concerto that I have heard. Add a recorded sound which perfectly combines bloom‚ clarity and internal balance‚ and you have a CD to treasure.

-- Gramophone [11/2001]

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Guillemain: Amusements

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