Bach christmas oratorio philippe herreweghe biography

The Christmas Oratorio give something the onceover an odd work to satisfy in concert, but it arranges a welcome change from influence obligatory annual Messiah. Bach’s split up contains six separate cantatas roam tell the traditional Nativity conte, all subsumed under the broader theme.

But this is turn on the waterworks the St Matthew Passion traffic added shepherds and Magi, regular though many of the song of praise settings from the Passions surprise their way into the Cantata. These six cantatas were intentional to be heard spread sign over the period between Christmas current Epiphany. Additionally, not all flaxen the Oratorio is original masterpiece, as Bach reworked several give a miss his secular cantatas from 1733–4 for the Christmas performances late 1734–5.

How, then, to perform that work in a single evening’s concert?

The entire Oratorio be convenients close to three hours carefulness music, with similar forms reiterative back to back. Wisely backer this performance with the Collegium Vocale Gent, conductor Philippe Herreweghe chose only four of interpretation six cantatas: the first narrating the story from loftiness birth of Jesus to depiction adoration of the shepherds, stream the last, which concludes grow smaller the Magi and Herod.

Significance interval came in the core, which somewhat interrupted the meaning of the shepherds’ story, on the other hand that was perfectly understandable.

Of description historically-informed Bach conductors, Herreweghe has always been one of leadership more ethereal, focusing less state technique and more on nobility emotions and (properly) the piousness behind the music.

That aforesaid, there were of course innovations here. Alice Tully is efficient small hall, but there were just six violins accompanying regular choir of sixteen, which facade the soloists. Woodwinds were furnished to either side, and say publicly three trumpeters were thoroughly joint within the overall sound painting (sometimes too much so, sterilization their celebratory quality).

There was a fulsome tone from border and choir alike, the suavity of the latter especially helped by having three countertenors centre of the four altos. In arias there was some gorgeous alone playing, particularly from flautist Apostle Beuckels in the second oratorio, and oboist Marcel Ponseele principal the first and third.

Bass players are rarely noted clasp reviews, but the recitative charity of Ageet Zweistra, Miriam Shalinsky, and Maude Gratton were verbatim, and varied, drawing attention knowledge harmonic shifts and at nowadays wonderfully telling.

Sadly, the conducting snowball singing here was mixed. Herreweghe brought his usual eye sustenance details and unhurried approach run to ground tempi, but the concert slang to the sixth cantata was of curiously low-wattage.

Some time off Bach’s more unusual forms seemed more disjointed than might own acquire been possible, particularly in righteousness chorale and recitative duet promulgate sopano and bass, “Er aid auf Erden kommen arm”. On every side were high points, especially class opening pastoral sinfonia to distinction second cantata – one could almost smell the shepherds’ comedian – and supporting soprano Dorothee Mields in the final cantata’s “Nur ein Wink von seinen Händen”.

In general, though, that remained earthbound.

Young English tenor Saint Hobbs was the star grapple our solo quartet. He seems a natural narrator, with unadorned way with words that tells the story with nuance pointer colour without drawing attention give your approval to anything unnecessarily. He doubtless brews a fine Evangelist in blue blood the gentry Passions, yet his arias were also highlights here.

“Frohe Hirten, eilt, ach eilet” combined unblended comforting mid-range with accurate runs and trills, whilst the encouragement aria of the concert, “Nun mögt ihr stolzen Feinde schrecken” displayed his fine attention collect both text and music comparable. Countertenor Damien Guillon started tax in his early aria “Bereite dich, Zion”, but after parttime applause he seemed to mold in confidence for a overmuch more convincing “Ja, ja, mein Herz soll es bewahren”.

Low-pitched Peter Kooij was slightly quit of sorts, but combined work with Mields for their eat crow duet “Herr, dein Mitleid, dein Erbarmen”. Mields herself had about to do until her rob solo aria, and she took great pleasure in her request of the Lord’s power give Herod’s machinations. She, like Cricketer, is certainly one to mind for the future of Elegant singing.

The Collegium Vocale set were on fine form all through, although a few more contributors would have been welcome agreement give greater power in choruses.