Music / kor

Ich bin vergnügt


Reviews (25)


RBB Kultur

d. 24. Feb. 2022

By

By

Bernhard Schrammek

d. 24. Feb. 2022

"Die österreichische Sopranistin Miriam Feuersinger zählt momentan zu den führenden Sängerinnen im Repertoire der barocken Kirchenmusik ... Jetzt hat Miriam Feuersinger gemeinsam mit dem Capricornus Consort Basel drei der anspruchsvollsten Solokantaten von Bach eingespielt. Das Motto der CD "Ich bin vergnügt" kann dabei ganz unmittelbar auf das grosse Vergnügen bezogen werden, das sich beim Hören des Albums ergibt. Die ungemein klare und warme Stimme von Miriam Feuersinger ist ideal für Bach geeignet: Tief beeindruckend und spannungsvoll in den langsamen Sätzen, mit schwebender Leichtigkeit in den Koloraturen und mühelos strahlend in der Höhe (bis zum hohen c). Ein Album, das auch dank des wiederum vorzüglichen Capricornus Consorts neue Massstäbe setzt".


classicalsource.com

2017 October

By

By

Curtis Rogers

2017 October

"Volle's approach generally tends to be persuasive in a quiet, direct fashion, evoking Lutheran devotion, rather than mystical fervour; the final number of 'Ich habe genug' does not take off with any particular flight of joy to match the words, but the understated seriousness of Volle's purpose remains compelling".


Politiken

d. 22. Mar. 2012

By

By

Thomas Michelsen

d. 22. Mar. 2012

"Scholl behandler musikken med ydmyg grundighed. Resultatet er smukt på sin egen drømmende måde. Hører man til dem, der forbinder lyden af Bachs 1700-tals-musik med højtider som påsken, er dette et bud på et lydspor til de første dage i april".


Kristeligt dagblad

d. 25. Jan. 2012

By

By

Peter Dürrfeld

d. 25. Jan. 2012

"Scholl synger ... den anonyme tekstdigters ord med en så rodfæstet inderlighed, at man føler sig overbevist om, at han samtykker i, at "du sollst Gott und den Nächsten leben". Og han suppleres i alle arier af en smuk og herligt transparent orkesterledsagelse af Kammerorchester Basel ledet af Julia Schröder".


Jyllands-posten

d. 18. Dec. 2000

By

d. 18. Dec. 2000


BBC music magazine

2014 February

By

By

Nicholas Anderson

2014 February

"In the celebrated slumber aria "Schlummert ein" ... Schäfer sings affectingly ... Schäfer gives an athletic account of its dance-like arias [in Ich bin vergnügt], though I find her vibrato a little intrusive ... Notwithstanding Schäfer's vibrato, here is an otherwise enjoyable disc with fine woodwind contributions.


Fono Forum

2013 Dezember

By

By

Arnd Richter

2013 Dezember

"Vurdering: Empfehlungen des Monats" - "Christine Schäfer gelingt all dies mühelos, und es gelingt überzeugend. Sie erreicht eine enorme Ausdrucksintensität, ohne die Grenzen zu Sentimentalität auch nur zu streifen".


Fono Forum

2022 Mai

By

By

Reinmar Emans

2022 Mai

"Bei diesen Solo-Kantaten kann sich die österreichische Sopranistin Miriam Feuersinger so richtig austoben. Das macht sie geschmackssicher und souverän. Sie wird freilich auch vorzüglich durch das Capricornus Consort unterstützt, das mit viel Drive detailgenau und klangschön begleitet".


BBC music magazine

2006 October

By

By

George Pratt

2006 October

"Kuijken is uncompromisingly in the "one-voice-to-a-part" camp for Bach cantatas as his expansive notes, exuberantly full of italics and bold emphases, make clear ... The resulting textures are refreshingly light and clean. BWV 178 ... is unbeatable among its relatively few competitors".


Fono Forum

2017 Dezember

By

By

Elke Seifert

2017 Dezember

"Michael Volle gestaltet ... mit stark kontrollierter emotionaler Intensität, singt mit sparsamem Vibrato, macht dieses Werk mit seinem beweglichen Bass lebendig, lässt es düster schimmern ... Volles Phrasierungskunst ist schlichtweg grossartig, die Textverständlichkeit grandios. Die Akademie für Alte Musik begleitet ihn mit fein austarierter, nobler Dezenz ... Die musikalische Zusammenarbeit ... ist kongenial".


BBC music magazine

2018 January

By

By

Nicholas Anderson

2018 January

"Volle has just the kind of voice that serves the best interests of Bach's music. His declamation is clear and lightly articulated, his vibrato tightly controlled and his intonation impeccable ... Akademie für Alte Musik Berlin gives fine accounts of the sinfonias, setting the seal on a fine release".


Fono Forum

2012 März

By

By

Bjørn Woll

2012 März

"Ohne Frage, Scholls Stimme zählt immer noch zu den schönsten Countertenören, die es aktuell zu hören gibbt, mit einer für das Stimmfach guten tiefen Lage ... Das Orchester spielt tadellos, auch wenn hin und wieder der Eindruck entsteht, dass Solist und Ensemble nicht immer in einem Dialog miteinander stehen ... Alles klingt bei Scholl wunderbar, geht aber nur selten wirklich zu Herzen ... Eine solide, keine herausragende Einspielung".


BBC music magazine

2012 March

By

By

George Pratt

2012 March

"Andreas Scholl's highly distinctive voice, with its clarity, poise and quiet control, makes an ideal vehicle for reflective Bach".


International record review

2014 February

By

By

Lucy Beckett

2014 February

"This is a most attractive disc ... At once it is clear that we are in the presence of excellent instrumentalists and a very fine singer ... Christine Schäfer's pure, soaring soprano voice, fresh and open, is alway in the middle of the note, and she is admirably flexible in response to the different kinds of demand Bach makes in all three of these cantatas ... The instrumental pieces, both most beautifully played".


The gramophone

2014 February

By

By

Richard Lawrence

2014 February

"The present-day pitch favoured by the Berlin ensemble assists Christine Schäfer in conveying much of [Mein Herz schwimmt] ... with a near-manic desperation ... The Dorian Fugue and the six-part Ricercar are beautifully played".


Kristeligt dagblad

d. 31. Jan. 2000

By

d. 31. Jan. 2000


Politiken

d. 30. July 2000

By

d. 30. July 2000


The gramophone

2022 June

By

By

David Vickers

2022 June

"Miriam Feuersinger's stylish phrasing, almost entirely vibrato-free timbre and articulate communication of words form an elegantly bittersweet conversation with Tomoko Mukoyama's gently consoling flute ... Quick passages in 'Ich freue mich auf meinen Tod' are sung with disarming fluency ... Feuersinger's intimacy of tone and limpid shaping function in equal partnership with Katharina Arfken's concertante obo in two arias ... Feuersinger's relaxed conversing with trumpeter Ute Hartwich has purling eloquence".


The gramophone

2006 October

By

By

Jonathan Freeman-Attwood

2006 October

"This disc, the first in a new series, exemplifies Sigiswald Kuijken's highly selective and considered approach to Bach's cantatas ... Overall this marks a refreshing alternative approach to the virtuoso homogeneity of recent cantata performances. Three more volumes follow soon".


The gramophone

2017 November

By

By

Jonathan Freeman-Attwood

2017 November

"Volle is nothing if not involved and his carefully declaimed singing projects an often effective didactic approach ... The constant worry, though, is [his] wildly inconsistent vocal production ... The instrumental fillers burst with life, full of all the textural panache one associates with the Berliners".


The gramophone

2012 April

By

By

David Vickers

2012 April

"There are four extant cantatas that Bach composed for solo alto voice. Three were recorded by Andreas Scholl in 1997. Now, at last, Scholl has recorded the fourth (BWV 169). With its larger and more varied scoring, some Bach experts even claim that this is the greatest of the four ... Scholl's compassionate use of words and melodic sweetness in "Schlummert ein" is the best recorded work he has produced for years".


International record review

2012 April

By

By

Marc Rochester

2012 April

"These are intensely satisfying performances delivered with consummate artistry from not just a fabulous singer but a remarkable group of instrumentalists too".


Weekendavisen

d. 3. Nov. 2000

By

d. 3. Nov. 2000


Jyllands-posten

d. 16. May 1999

By

d. 16. May 1999


Politiken

d. 23. Apr. 2000

By

d. 23. Apr. 2000