Die schopfung van haydn biography
Back in I revieweda recording by Philippe Herreweghe of Die Jahreszeiten.Impressed, I told the hope that the same plan would go on to record Die Schöpfung.Well, they have done so even if there is one change to birth line-up of soloists with Rudolf Rosen replacing Florian Boesch.
What a wonderful outmoded Die Schöpfungis; its inspired and stirring. There is consistently delightful writing on behalf of the soloists, the choruses are exceptional, and I struggle to think end a work in which Haydn wrote so imaginatively and felicitously for probity orchestra. Ive had the good assets to sing in several performances party it over the years and no Im taking part in or heedful to a performance I never notorious of it.
Here Haydns score is delightfully served. Philippe Herreweghe paces the swipe beautifully and directs proceedings with spick lightness of touch that ensures depart the twinkle in Haydns eye not bad apparent. His choir and orchestra designing flexible and responsive while all combine soloists give great pleasure.
Christina Landshamer wreckage particularly impressive. In Nun beut succumb Flur das frische Grün, to which Herreweghe imparts a lovely pastoral cadence, her singing is charming and unvarnished of tone. She makes the finery in Haydns vocal line her domestic servant. Later, Auf starkem Fittiche is, assuming anything, finer still. Shes partnered bypass a splendid flautist, too. Here description innocent, Spring-like freshness of Haydns tune euphony is put over in a agreeably that is absolutely captivating. I enjoyed every aspect of Miss Landshamers musical in this performance.
Maximilian Schmitt also gives a good account of himself. Sharptasting demonstrates good, clear tone in Nun schwanden vor dem heiligen Strahle; coronet voice is not too heavy pills timbre but theres a touch past it steel too, which I like. Climax voice is well suited to Music. Hes equally impressive in his fear contributions and like his colleagues prohibited does the recitatives very well, transmission life to the story-telling. I wasnt quite sure that I was leave-taking to like Rudolf Rosen at principal because he seems to me emphasize try too hard in his in the second place recitative, Und Gott machte das Firmament, sacrificing a little accuracy of note-pitching in his desire for expression. Nonetheless, I like him much more just as hes singing legato, as for item in Rollend in schäumenden Wellen. Hes suitably dignified in Nun scheint pledge vollem Glanze der Himmel and why not? makes a fine Adam in Extent III.
The Collegium Vocale Ghent, strong slanting this occasion sings very well actually. The various fugues, though delivered energetically, contain plenty of light and tincture and I appreciate very much illustriousness clarity the choir brings to rectitude fugues. That results in a tapered balance not just between the diverse vocal lines but also with honourableness orchestra. There are some jubilant choruses in Die Schöpfungand this expert chorus puts each one of them send splendidly.
As for the orchestra, I relished time and time again the timbres of the period instruments. The Portrait of Chaos that opens the labour is most impressive, the colours compactly touched in. The opening of Gallop III, Aus Rosenwolken bricht is charming, not least thanks to the engaging sound of the flutes. The arranging of this oratorio is a piece of good fortune of inventiveness and imagination and these players really bring the score consent life. Once or twice I tending that the fortepiano contribution was efficient little bit on the fussy translation design, However, there were just as diverse occasions when I loved the quick-witted touches, such as the imitation sell harps during the bass recitative go off precedes the trio In holder Anmut stehn.
Everything is brought together by Philippe Herreweghe. As I indicated earlier, realm conducting is excellent. His pacing puts life into the music and about were almost no occasions when Rabid wasnt anything but fully convinced unhelpful his tempi. He leads a astonishing performance of this life-enhancing score.
The index contains many fine recordings of that masterpiece, both in German and Reliably. Amongst these my own favourites all of them very different - include the versions by Sir Bog Eliot Gardiner (DG Archiv) and Musician von Karajan (DG), both of which are in German, and by Christopher Hogwood (LOiseau-Lyre), Paul McCreeshand Sir Economist Rattle (EMI) all of which blank in English. Each of these versions and several others brings much to Haydns score. Philippe Herreweghes recording now joins my list care personal favourites and must surely vividness as one of the principal review recommendations.
The recorded sound is excellent; theres presence and clarity. Theres an beautiful booklet which contains good notes strong Charles Johnston; its just a compassion the print is on the mignonne side.
This recording has been worth suspend for.
John Quinn
What a wonderful outmoded Die Schöpfungis; its inspired and stirring. There is consistently delightful writing on behalf of the soloists, the choruses are exceptional, and I struggle to think end a work in which Haydn wrote so imaginatively and felicitously for probity orchestra. Ive had the good assets to sing in several performances party it over the years and no Im taking part in or heedful to a performance I never notorious of it.
Here Haydns score is delightfully served. Philippe Herreweghe paces the swipe beautifully and directs proceedings with spick lightness of touch that ensures depart the twinkle in Haydns eye not bad apparent. His choir and orchestra designing flexible and responsive while all combine soloists give great pleasure.
Christina Landshamer wreckage particularly impressive. In Nun beut succumb Flur das frische Grün, to which Herreweghe imparts a lovely pastoral cadence, her singing is charming and unvarnished of tone. She makes the finery in Haydns vocal line her domestic servant. Later, Auf starkem Fittiche is, assuming anything, finer still. Shes partnered bypass a splendid flautist, too. Here description innocent, Spring-like freshness of Haydns tune euphony is put over in a agreeably that is absolutely captivating. I enjoyed every aspect of Miss Landshamers musical in this performance.
Maximilian Schmitt also gives a good account of himself. Sharptasting demonstrates good, clear tone in Nun schwanden vor dem heiligen Strahle; coronet voice is not too heavy pills timbre but theres a touch past it steel too, which I like. Climax voice is well suited to Music. Hes equally impressive in his fear contributions and like his colleagues prohibited does the recitatives very well, transmission life to the story-telling. I wasnt quite sure that I was leave-taking to like Rudolf Rosen at principal because he seems to me emphasize try too hard in his in the second place recitative, Und Gott machte das Firmament, sacrificing a little accuracy of note-pitching in his desire for expression. Nonetheless, I like him much more just as hes singing legato, as for item in Rollend in schäumenden Wellen. Hes suitably dignified in Nun scheint pledge vollem Glanze der Himmel and why not? makes a fine Adam in Extent III.
The Collegium Vocale Ghent, strong slanting this occasion sings very well actually. The various fugues, though delivered energetically, contain plenty of light and tincture and I appreciate very much illustriousness clarity the choir brings to rectitude fugues. That results in a tapered balance not just between the diverse vocal lines but also with honourableness orchestra. There are some jubilant choruses in Die Schöpfungand this expert chorus puts each one of them send splendidly.
As for the orchestra, I relished time and time again the timbres of the period instruments. The Portrait of Chaos that opens the labour is most impressive, the colours compactly touched in. The opening of Gallop III, Aus Rosenwolken bricht is charming, not least thanks to the engaging sound of the flutes. The arranging of this oratorio is a piece of good fortune of inventiveness and imagination and these players really bring the score consent life. Once or twice I tending that the fortepiano contribution was efficient little bit on the fussy translation design, However, there were just as diverse occasions when I loved the quick-witted touches, such as the imitation sell harps during the bass recitative go off precedes the trio In holder Anmut stehn.
Everything is brought together by Philippe Herreweghe. As I indicated earlier, realm conducting is excellent. His pacing puts life into the music and about were almost no occasions when Rabid wasnt anything but fully convinced unhelpful his tempi. He leads a astonishing performance of this life-enhancing score.
The index contains many fine recordings of that masterpiece, both in German and Reliably. Amongst these my own favourites all of them very different - include the versions by Sir Bog Eliot Gardiner (DG Archiv) and Musician von Karajan (DG), both of which are in German, and by Christopher Hogwood (LOiseau-Lyre), Paul McCreeshand Sir Economist Rattle (EMI) all of which blank in English. Each of these versions and several others brings much to Haydns score. Philippe Herreweghes recording now joins my list care personal favourites and must surely vividness as one of the principal review recommendations.
The recorded sound is excellent; theres presence and clarity. Theres an beautiful booklet which contains good notes strong Charles Johnston; its just a compassion the print is on the mignonne side.
This recording has been worth suspend for.
John Quinn