Just as an alcoholic finds it difficult to resist yet another drink, so I find it difficult not to buy yet another CD of Bach cantatas. My latest fall from grace is a Linn production offering three of Bach's best cantatas: Ich habe genug (BWV 82), Liebster Jesu, mein Verlangen (BWV 32), and the Actus Tragicus (BWV 106). An impressive line-up. The Dunedin Consort is directed by John Butt; the recording is excellent with a clear line to Bach's often intricate ornaments for the accompanying band.
The “chorus” is econo-Bach, with just one to a part. Often this does not matter, but in Bach's elaborate writing in BWV 106 where he contrasts solo voices to the chorus, it's a bit of a pity. One feels that Bach, having put so much effort into the writing, probably hoped for less than an economy production. The bass, Matthew Brook, is to be highly commended for his exemplary diction; one can hear every word, and this is almost comical in the duets between bass and soprano in BWV 32 where the soprano, Joanne Lunn, could be singing in Mongolian for all we can hear. Why do so many sopranos find clear diction such a problem? Véronique Gens, and Maria Callas, were noticeable exceptions when it comes to clear articulation. I was not too enthralled with the alto, Katie Bray but, on the whole, singing and instrumental playing all come off well. A good addition to my 300 or so recordings of Bach cantatas.
No comments:
Post a Comment