Music / kor

Elias


Reviews (24)


Kulturradio RBB

d. 22. Mar. 2016

By

By

Astrid Belschner

d. 22. Mar. 2016

"Eine besondere Aufnahme des Oratoriums "Elias" von Felix Mendelssohn Bartholdy ist herausgegeben worden: die Aufnahme des Abschiedskonzertes von Hans-Christoph Rademann als Chefdirigent beim Rias-Kammerchor ... Es ist eine hervorragende CD geworden. Alles ist ausgewogen und miteinander abgestimmt - die Solisten treten als ausgewogenes Quartett in Erscheinung, bei dem jeder seine Rolle ausfüllt. Das Orchester spielt inspiriert und temperamentvoll. Man spürt förmlich den Pulsschlag!".


Classical net

2010

By

By

Gerald Fenech

2010

"This is a welcome new recording of Mendelssohn's greatest oratorio with the German forces all on top form playing in "home" territory. Spering sets a swift and brisk tempo throughout the work although he does tend to linger over the more reflective pieces. Still from the expansive Overture right up to the final chorus, the listener is deeply engaged in this fabulous work ... this Elijah comes heartily recommended".


Jyllands-posten

d. 28. Sep. 2012

By

By

Jens Povlsen

d. 28. Sep. 2012

"Udladningerne er for voldsomme, og de højstemte kor virker så overlæsede, at store dele af oratoriet for én til at gispe efter lethed og luft".


Politiken

d. 4. Dec. 2012

By

By

Henrik Friis (f. 1978)

d. 4. Dec. 2012

"Elijah, eller Elias som profetens danske navn klinger, har strengt taget ikke meget med jul at gøre. Men det kunne han nu godt. Det er i hvert fald englesang og jubelkor og gigantisk dramatik, der ledsager Elias ... Og det lyder intet mindre end fantastisk ... Det handler om, at dirigenten Paul McCreesh tilstræber en del af det lydideal, han selv har været med til at hente op fra barokken og historiens glemsel de seneste årtier".


Klassisk

2012, nr. 27

By

By

Steen Chr. Steensen

2012, nr. 27

"McCreesh og hans trofaste Gabrieli Consort & Players har valgt ned til mindste detalje at rekonstruere opførelsen i Birmingham, fordi der her er mest kildemateriale at forholde sig til ... Resultatet er overvældende smukt og medrivende. McCreesh formår at fange den særlige lyse og lette klang, der præger Mendelssohns oratorium ... et touch af noget magisk og forunderligt".


BBC music magazine

2012 November

By

By

Roger Nichols (musikanmelder)

2012 November

"Paul McCreesh envisages 'the world's largest chamber choir' that would emulate a chamber choir's extremely nuanced, coloured and articulate singing. As an aim that surely can't be faulted. But can it really be achieved with some 300 singers in Watford Town Hall? The problems arise in the linear, polyphonic choruses ... Of the soloists, Sarah Connolly sings with mellifluous tone and Simon Keenlyside is an Elijah of spirit and intelligence".


Klassisk

2016, nr. 42

By

By

Mikael Garnæs

2016, nr. 42

"I denne udgave får vi oratoriet på komponistens eget sprog (tysk) i en version med gamle instrumenter og tilspidset, barokopførelsespraksis-orienteret udførelse, der skræller den senromantiske tradition bort, lader værket fremstå friskt og dramatisk ... Om solisterne kan man generelt sige, at de er godt valgt uden at brillere ... Koret fra ... RIAS synger på meget højt plan".


Diapason

2016 mai

By

By

Benoît Fauchet

2016 mai


BBC music magazine

2017 March

By

By

Roger Nichols (musikanmelder)

2017 March

"It is in every way a big, dramatic interpretation, and as such absolutely in keeping with Mendelssohn's ideal ... Nagy is a powerful, sonorous Elijah, not merely a man of God but an out-and-out demagogue ... The whole interpretation is splendidly dramatic, with wide dynamic variations and silences given full value".


Classical music

2017 February

By

By

Guy Weatherall

2017 February

"This fine new recording dusts any remaining cobwebs from this much-recorded piece. The ensemble brings its characteristic deftness, Hengelbrock's phrasing and colouring always insightful and apt".


Diapason

2017 avril

By

By

Jérôme Bastianelli

2017 avril


Fono Forum

2017 Februar

By

By

Johannes Schmitz

2017 Februar

"Empfehlungen des Monats: Lothar Odinius's nicht ganz offener, aber sehr kultivierter lyrischer Tenor, die kernige Altistin Ann Hallenberg und besonders der sinnlich strömende Sopran von Genia Kühmeier ergeben ein Quartett, das die theatralische Intention von Hengelbrocks Auffassung gut umsetzt".


Fono Forum

2008 November

By

By

Werner Pfister

2008 November

"Hier wird vor allem chorische Gesangskultur gepflegt. Allerdings kommt über so viel Beschäftigung mit dem eigene Singen der Sinn der Worte und überhaupt die dramatische Aussage dieser Musik doch etwas zu kurz".


BBC music magazine

2008 Proms

By

By

Roger Nichols (musikanmelder)

2008 Proms

"One claim to authencity is met here, in that Elijah was composed to German words. Beyond that, though, authencity seems here to have given way to mere tradition ... Altogehter is gives more than a glimpse of the grand opera Mendelssohn was never to write".


Fono Forum

2011 Januar

By

By

Marcus Stäbler

2011 Januar

"Trotzdem hinterlässt Sperings Aufnahme unterm Strich den stärkesren Eindruck - wegen der fast durchweg grossartigen Solisten, aber auch durch den dramatischen Zug des Ganzen".


BBC music magazine

2011 September

By

By

Roger Nichols (musikanmelder)

2011 September

"An orchestra rightly wedded to extremes and a chorus with high energy levels and the crispest enunciation. Wolfgang Sawallisch's speeds may be sensible, but he does his experienced best to project the psychological drama of the Old Testament story. Sadly, not all the soloists are attuned to this approach".


Fono Forum

2011 August

By

By

Marcus Stäbler

2011 August

"Michael Volle gehört sicher zu den überragenden Elias-Interpreten unserer Tage ... Das kann man kaum besser singen. Volle führt ein Ensemble mit weiteren namhaften Kollegen an, die ihm allerdings nicht ganz das Wasser reichen können ... So sind die beiden anderen Hauptrollen - Chor und Orchester nämlich - ganz hervorragend besetzt und geführt ... Dieser Elias bekommt eine ganz eigene Handschrift, die den grossen emotionalen Reichtum der Partitur enthüllt. Stark!".


The gramophone

2012 November

By

By

Richard Lawrence

2012 November

"Vurdering: Gramophone choice" - "I'm not a fan of filmed concerts but I do wish this recording had been made for DVD, as the performance at the Proms that preceded it was a visual knockout as well as an aural one ... All the authenticity in the world is of no use unless the performance takes wing. This one certainly does ... The sound is massive when required, but the articulation is never unwieldy and there is delicacy too ... Simon Keenlyside is more impressive than he was in Albert Hall ... Sarah Connolly and Rosemary Joshua are both excellent. From the ... opening to the final 'Amen', this is a triumph".


Diapason

2013 juin

By

By

Jérôme Bastianelli

2013 juin

"Vurdering: Diapason d'or".


International record review

2012 October

By

By

Robert Matthew-Walker

2012 October

"In short, McCreesh has succeeded admirably in re-creating, as clearly as possible, the kind of impact this masterpiece must have made at its first performance".


The gramophone

2016 June

By

By

Peter Quantrill

2016 June

"Perhaps Rademann is less concerned than Herreweghe to pull out the many felicities of Mendelssohn's original orchestration - trombones play a largely supporting role in the big choruses - but he is more prepared to cultivate legato phrases, which impart to the concerted vocal numbers a flow as smooth as the brook of Kidron itself".


The gramophone

2017 March

By

By

Peter Quantrill

2017 March

"The cooperation of choir and orchestra is the performance's most distinctive feature ... When they step out for trios and quartets, individual members of the choir sing with strikingly pure tone ... though none of them quite matches the astonishing treble of Gabriel Böer ... This Elijah has much in its favour without staking a claim as definitive".


The gramophone

2008 August

By

By

John Steane

2008 August

"I found it one of the best performances, I have heard, a measure for this being the absence of that customary feeling of there being some falling-off in the second half of Part 2 and that a chorus (or two) less would not come amiss".


The gramophone

2011 September

By

By

Richard Lawrence

2011 September

"Wolfgang Sawallisch is in complete command ... The chorus and orchestra are the real stars of the performance. The former are fullthroated when required but capable of delicacy ... The orchestra impresses with noble brass ... What is regrettably missing is the organ, to lend weight to the choruses. Michael Volle is an authoritative Elijah ... If you are happy with the German, this lively version will afford much pleasure".