Musik / kor

Missa solemnis


Beskrivelse


Summary: Conductor Bernard Haitink, of whom the BR-Klassik label has already released several recordings, has now been connected with the Bavarian Radio Symphony for more than 55 years.

Anmeldelser (46)


RBB Kultur

d. 11. feb. 2021

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Bernhard Schrammek

d. 11. feb. 2021

"Die Missa solemnis von Ludwig van Beethoven hat nicht immer den besten Ruf: In Chorkreisen gilt sie als sperrig und schwer singbar, auch manche Dirigenten machen lieber einen Bogen darum. Nicht so René Jacobs. Mit dem RIAS Kammerchor und dem Freiburger Barockorchester hat er das Werk ... neu eingespielt. Entstanden ist eine Produktion, die neue Massstäbe setzt ... Der Chor verdient sich wieder einmal Bestnoten. Selbst die heiklen, offen liegenden, hohen Stellen ... klingen nicht angestrengt, sondern kraftvoll-kernig; gerade berückend schön gelingen die ruhigen Passagen, etwa im Benedictus. Hier vermischen sich die Vokalstimmen herrlich mit den leuchtenden Farben des Orchesters. René Jacobs sorgt für klare Tempi, harmonische Übergänge und Gänsehaut".


The guardian

d. 12. apr. 2012

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Tim Ashley

d. 12. apr. 2012

"There's fire and commitment in the choral singing and playing, and apart from Annette Jahns's occasionally plummy alto, the soloists are superb".


Classics today

2015

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Robert Levine (musikanmelder)

2015

"This performance of Beethoven's thorniest choral work is what one might expect from the great Bernard Haitink: pinpoint precision and an authentic, non-doctrinaire, ego-free reading ... This is a performance much to be admired".


Kulturradio RBB

d. 29. aug. 2017

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Astrid Belschner

d. 29. aug. 2017

"Hervorheben muss man vor allem den Chor, der ja mit zu den besten seiner Art gehört, und das Werk bravurös meistert - mit Wohlklang und Innigkeit, ohne Sentimentalität und ohne Überspannung. Der Dirigent gibt den namhaften Solisten die Möglichkeit, sich zu entfalten, und nicht ständig im Fortissimo singen zu müssen - und alle vier nutzen diese Möglichkeit ... Das Orchester übertrifft sich selber. Es spielt inspiriert, klangvoll und gibt dem Ganzen den Drive. Marek Janowski hat dieses heroische Werk in ein humanes Werk verwandelt. Und trotz der Detailfreudigkeit ist es eine geschlossene Interpretation geworden - sehr erfrischend, sehr gelungen".


AllMusic

2013

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Blair Sanderson

2013

"Herbert Blomstedt's 2012 performance of Ludwig van Beethoven's Miss Solemnis in D major bursts with energy and excitement, and even though it may seem somewhat removed from more traditional, reverent versions, it still befits the religious sentiments of the composer ... In musical terms, he certainly grasps the power and vitality of the Missa Solemnis and delivers a compelling and thoroughly convincing reading of the work".


Presto classical

d. 2. feb. 2021

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Katherine Cooper

d. 2. feb. 2021

"Editor's choices - January 2021: Jacobs's fresh, often febrile Missa has the same sense of the ink still being wet on the page that made François-Xavier Roth's 2020 recording of the Fifth Symphony such a Presto favourite: there's an exciting rawness (particularly in the lower regions) to the orchestral sound when required, though no rough edges whatsoever from the RIAS Kammerchor, who surmount Beethoven's formidable technical challenges with exhilarating aplomb".


Kristeligt dagblad

d. 30. jan. 2013

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Peter Dürrfeld

d. 30. jan. 2013

"Nu er det lykkes ... at udgive Beethovens himmelstræbende korværk Missa Solemnis på en enkelt cd - uden at man af den grund er gået på kompromis med det tekniske eller musikalske. Det borger det fremragende Gewandhausorchester fra Leipzig for, og med en autoritet som Herbert Blomstedt på podiet er der al mulig grund til at spidse ører ... Der er noget livsbekræftende over, at Blomstedt stadig er i stand til at levere en så dynamisk og magtfuld fortolkning af et storværk, men vi er jo i en genre, der er og bliver hans hjemmebane".


Jyllands-posten

d. 21. juni 2007

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John Christiansen

d. 21. juni 2007


Jyllands-posten

d. 31. mar. 2014

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Jens Povlsen

d. 31. mar. 2014

"Med desperat intensitet i sit jagende udtryk får Gardiner Beethovens svar på Bachs h-mol-messe, den imponerende "Missa Solemnis", til at ånde heftigt. Gardiner og hans fine musikere leverer en yderst slagkraftig fortolkning på liveoptagelsen med originalinstrumenter fra Beethovens tid. Indspilningen af det sjældent hørte værk blander sig i toppen af de bedste".


Kristeligt dagblad

d. 18. maj 2020

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Peter Dürrfeld

d. 18. maj 2020

"Plademærket Orfeo står for en ny udgivelse af " Missa solemnis" ... Denne version, der stammer fra 1985, har fire fine sangsolister, et godt kor (Wiener Singverein) og Wiens udmærkede radiosymfoniorkester ... Gielen var en meget målrettet dirigent. Hans tempovalg er imidlertid ret ekstreme, og denne indspilning sætter blandt de indspilninger, jeg kender, en noget tvivlsom hastighedsrekord på cirka 74 minutter - 12 minutter mindre end Leonard Bernstein i en berømmet indspilning med Wienerfilharmonikerne var om at nå til vejs ende".


Politiken

d. 27. juni 2016

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Thomas Michelsen

d. 27. juni 2016

"Selv om rivalen Philippe Herreweghes 20 år gamle indspilning måske er mere dynamisk i detaljerne og om muligt endnu bedre castet, hvad solister angår, er dette en fremragende fortolkning af et vanskeligt værk, som Harnoncourt kæmpede med hele sit liv, indspillede flere gange - og fandt sin løsning på".


BBC music magazine

2013 October

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Michael Tanner (musikanmelder)

2013 October

"Blomstedt takes his religion very seriously, and conducts Beethoven's puzzling Mass as an act of faith, not of enquiry; it is impressive".


Fono Forum

2021 Juni

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Susanne Benda

2021 Juni

"Vor allem im "Credo" geht man durch Himmel und Hölle. René Jacobs hat in seiner Aufnahme von Beethovens vielleicht schwierigstem Werk überhaupt nicht vor dessen Brüche zu kitten, und so wird man gemeinsam mit vier hochexpressiv singenden Solisten, mit einem ... wunderbar wandelbaren RIAS Kammerchor und mit dem geradezu detailversessen gestaltenden Freiburger Barockorchester hin- und hergeworfen zwischen den divergentesten Haltungen und Emotionen die Beethoven bei seiner Missa solemnis in Töne fasste".


BBC music magazine

2021 April

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Misha Donat

2021 April

"Jacobs penetrates to the heart of the music with his customary insight and intelligence, though not without adding an enigma or two of his own ... Jacobs is superb not only at communicating the music's visceral excitement, but also at plumbing its emotional depths - not least in his deeply moving account of the Miserere".


Fono Forum

2019 September

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Susanne Benda

2019 September

"CD des Monats: Ein Wunder. Das verfolgt man staunend, auch wenn man schnell merkt, dass es mit eigentlich schlichten Mitteln zustande kam ... Alles ist in schwebender, erstaunlich ungefährdeter Balance. Die glänzenden Solisten mit dem Tenor Sebastian Kohlhepp an der Spitze wirken wie eine Echokammer des grossen Chores und passen ... Auch als Ensemble exzellent zusammen ... Die Wirkung der Einspielung ist ungemein frisch und jung ... Ein ganz grosser Wurf!".


Diapason

2019 été

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Benoît Fauchet

2019 été


BBC music magazine

2014 April

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Misha Donat

2014 April

"It's not difficult to understand why Gardiner wanted this particular performance perpetuated: fine as the Archiv version is, the new one has an electricity of a kind that's hard to generate under studio conditions".


BBC music magazine

2012 June

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Michael Tanner (musikanmelder)

2012 June

"This may not be the finest performance of Beethoven's most forbidden work on disc, but it certainly ranks with the best".


Klassisk

2012, nr. 26

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Steen Chr. Steensen

2012, nr. 26

"Med Eschenbach og London Philharmonic kor og orkester samt fire fremragende solister løfter dette værk sig op over alle jordiske anstrengelser og bliver den hyldest til skaberværket, som Beethoven tydeligvis har ønsket at skabe - alle anstrengelser til trods".


BBC music magazine

2013 March

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Michael Tanner (musikanmelder)

2013 March

"With a smallish orchestra, perios practices and a tight grip on tempos, this is one of the least relenting performances I have heard".


Diapason

2015 juin

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Benoît Fauchet

2015 juin


Diapason

2017 juillet-août

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Patrick Szersnovicz

2017 juillet-août


BBC music magazine

2016 October

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Stephen Johnson (f. 1955)

2016 October

"There are moments when Harnoncourt's Missa solemnis is just wonderful, moments when you genuinely hold your breath at its beautiful audacity ... [And] there are moments where the spirit retreats behind thick clouds, and we are left lumbering and floundering ... Well, in a way it does sum up his achievement: glorious, brilliant, at times just bewildering ... Rating it is impossible! I've settled for three as a hopeless compromise".


Fono Forum

2016 August

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Klemens Hippel

2016 August

"Keine Spur eines aufgesetzt erscheinenden Pathos findet sie hier ... Die genaueste Beachtung der Tempi und eine beindruckende dynamische Bandbreite, die vor allem durch extreme Pianissimi möglich ist, sind dabei seine [Harnoncourt] Ausgangspunkt ... Ganz nebenbei und heimlich ist Nikolaus Harnoncourts letzte Aufnahme noch einmal ein überzeugendes Plädoyer".


The gramophone

2013 November

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Richard Osborne (f. 1943)

2013 November

"Vurdering: Gramophone collector" - "The Missa Solemnis is memorably done. It is a performance of great eloquence and drive, built, like Blomstedt's Bruckner, on the rock of the composer's own faith. The work of the MDR Choir ... is strong and transparent, exemplary both in tuning and delivery of text".


The gramophone

2021 April

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Peter Quantrill

2021 April

"One of the recording's remarkable qualities - there are a few - is the telling detail of the textual response to a Mass-setting in which every word matters ... While rethinking every line and phrase for himself, Jacobs has not, by and large, pursued eccentric solutions ... I don't follow his mannerist shading of the Gloria's final shout for joy but I like the artless cadenza for the soprano and alto soloists at the climax of the Benedictus. All four soloists are well matched and coached ... Jacobs has transferred a feel for the immensity of Beethoven's vision from concert hall to studio".


The gramophone

2019 August

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Peter Quantrill

2019 August

"Editor's choice: Bernius coaches from his performers an assured and even (where appropriate) relaxed mastery of the notes and phrases before them ... No less crucially, the soloists have had time to sing with each other: they form a notably well-matched team, not competing with each other or fighting for room with choir and orchestra ... There's so much to enjoy here".


International record review

2014 March

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Peter Lynan

2014 March

"Gardiner's view of the work doesn't appear to have changed drastically [since the first Gramophone Record of the Year-recording on DG, 1989] but the overall impression from listening to his two versions side by side is that the emotional temperature has been raised by a few degrees, resulting in a more dynamically intense reading. It's all the better for it, on the whole ... Technically ... the whole performance is in almost all respects a triumph ... Surely be set to match its predecessor's award-winning acclaim".


BBC music magazine

2006 February

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Andrew McGregor

2006 February


The gramophone

2006 February

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Richard Wigmore

2006 February

"Giulini tends to bathe everything in a warm, beneficent glow ... Helmuth Rilling's Christ on the Mount of Olives is much more to my taste ... the soloists, led by the fearless Maria Venuti, all do well".


High fidelity

2001 4

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The gramophone

2012 August

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Richard Lawrence

2012 August

"Here are two live versions [William Steinberg; Christoph Eschenbach] ... Eschenbach scores with the finely shaped phrasing of his violas and cellos ... The LPC tenors redeem themselves with their whispered "Et incarnus est" and a less strangulated "Et resurrexit". Earlier on, though, Eschenbach loses momentum by slowing up before "Qui propter nos homines" ... A clear preference for Steinberg".


International record review

2012 July/August

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William Hedley

2012 July/August

"The LPO Choir is the star of the show here ... The soloists are very fine and the orchestra outstanding. Eschenbach's view of the work is quite individual, more romantic than Gardiner ... If you like your Beethoven with a dash of spontaneous interpretative freedom, then this magnificent performance, which must have been sensational on the night, will do the job very well".


International record review

2013 June

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Nigel Simeone

2013 June

"This new one is on similarly exalted level: it's a memorable experience, captured in excellent sound, and enhanced by fine booklet notes from William Drabkin".


The gramophone

2013 March

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Richard Lawrence

2013 March

"Following their Bach B minor Mass, Philippe Herreweghe and his team have produced an equally fine account of beethoven's choral masterpiece ... The choir is ecxellent ... clear, warm recorded sound".


Weekendavisen

d. 19. apr. 2002

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d. 19. apr. 2002


The gramophone

2015 August

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Richard Osborne (f. 1943)

2015 August

"Vurdering: Editor's choice" - "Haitink at 85 makes his first recording of one of music's choral masterpieces - and what a wonderful performance his wisdom and experience offers".


The gramophone

2017 September

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Peter Quantrill

2017 September

"The venue is the Berlin Philharmonie. the engineering tems of Pentatone and German radio familiar from many excellent recordings, but the combination does not pay off in a piece that will always make prodigious demands of all concerned ... Such a context makes it harder to evaluate Janowski's contribution ... This is apparently the record of a single concert, and the reasons for its preservation are not obviously compelling".


Jyllands-posten

d. 25. apr. 2000

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d. 25. apr. 2000


Diapason

2016 juillet-août

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Rémy Louis

2016 juillet-août

"Vurdering: Diapason d'or".


The gramophone

2016 August

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Richard Osborne (f. 1943)

2016 August

"Vurdering: Editor's choice" - "This is a remarkable account of Beethoven's Missa solemnis and, in one important respect, an unusual one. For though it is in no sense lacking in drama, it is in essence a deeply devotional reading ... Harnoncourt's performance has an atmosphere you might more normally expect to encounter when listening to a piece such as the Fauré Requiem".



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