Weihnachts-Oratorium
Johann Sebastian Bach
Emneord
Minder om
Anmeldelser (8)
Classics today
2011
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Robert Levine (musikanmelder)
2011
"The performance is excellent, indeed marginally better than the Gardiner. It's as tightly led in exciting passages but Bertrand de Billy also captures some rapturous stillness and warmth in "Mir ist so wunderbar" and elsewhere ... The Arnold Schoenberg Choir sings with accuracy and feeling. All Fidelio and Beethoven fans will need this".
Presto classical
d. 6. dec. 2019
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Katherine Cooper
d. 6. dec. 2019
"Recording of the week: Period-instrument accounts of the opera in any of its incarnations are surprisingly rare; what a joy, then, to hear the rasping natural horns and dry timpani of the Freiburger Barockorchester conjuring Florestan's dungeon into eerie life ... Jacobs hurtles through the score at breakneck speed so that the adrenaline-level never drops and the action unfolds like a pacey thriller. For the most part it works brilliantly in service of the drama and characterisation, though I did long for just a little breathing-space in the Prisoners' Chorus".
BBC music magazine
2011 February
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Hilary Finch
2011 February
"Bertrand de Billy creates lively dramatic tension ... Brigitte Geller is a bright-eyed Mazelline, Peter Rose a sympathetic and nicely characterised Rocco ... I find Camilla Nylund's highly-strung vibrato makes for a too-often breathless Leonore ... The Arnold schoenberg Choir show characteristic discipline in their delivery".
BBC music magazine
2020 February
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George Hall (musikanmelder)
2020 February
"Of the principals only Johannes Weisser's Don Pizarro disappoints, and even he is strong in the dialogue. Jacobs's tempos are fast - sometimes a bit skittishly so - and the sublimity one looks for is missing; yet overall this is an exciting account that offers a fresh look at an edition widely perceived to have been superseded by the composer himself".
Diapason
2020 janvier
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Emmanuel Dupuy
2020 janvier
Fono Forum
2020 Februar
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Richard Lorber
2020 Februar
"René Jacobs sagt, die Ur-"Leonore" von 1805 sei Beethovens beste Fassung und nicht die heute meist gespielte dritte Fassung mit dem Titel "Fidelio". Es gehört viel guter Wille dazu, Jacobs in dieser Auffassung zu folgen ... Marlis Petersen ist eine ideale Leonore ... Maximilian Schmitt als Florestan klingt verhalten ... Dimitry Ivashchenko singt Roccos Gold-Arie sehr buffo-mässig geradeheraus ... Alles in allem ist diese Produktion ein wichtiger Beitrag zur Beethoven-Rezeption".
Operabladet Ascolta
(2014) 33. årgang nr. 1
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Henrik Marcussen
(2014) 33. årgang nr. 1
"Da indspilninger af Leonore ikke hænger på træerne, er der grund til tilfredshed med denne ... Richard Cassily er en hårdtpumpet Florestan og Edda Moser har, trods smuk klar timbre, vanskeligheder med Leonores krævende parti. Dresden orkestret spiller frydefuldt ... Denne version af ur-Leonore fra Dresden [har] sin store fortjeneste".
The gramophone
2020 February
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Mike Ashman
2020 February
"Jacobs writes a passionate note in the CD booklet championing 1805 as the best version of the opera. He then backs it up with a swift, dramatic musical performance. As in the past, the result often sounds like a young Klemperer with original instruments, never afraid to let wind, brass or drums speak their parts out as contributors to Beethoven's dramatic timbre. It makes for a performance well prepared and cast with the lighter (but always agile) voices that Jacobs tends to favour ... The recording ... serves both show and composer well. I find this the most convincing version of Leonore yet. It never sounds merely like a 'Fidelio manqué' and comes highly recommended".