Gefallen

Boris Godunov - not by Mussorgsky. The story of how Johann Mattheson's political comedy Boris Goudenow came into being reads in large parts more exciting than many a mystery script: written in 1710 for the Hamburg Opera at the Gänsemarkt, the work was suddenly withdrawn by the composer. The score fell into oblivion, eventually found its way into the Hamburg City Library, and was long considered lost after World War II. It was not until the end of the 20th century that the opera was tracked down in Armenia and returned to Hamburg, where the premiere finally took place in 2005 after a delay of almost 300 years.

Dominik Wörner, a prizewinner at the Bach International Competition in Leipzig in 2002, established the Kirchheimer BachConsort in 2008. Its members, leading musicians from the early music scene, perform as an ensemble of soloists in programs focusing on the repertoire of the eighteenth century. On this brand-new CD release Wörner leads his ensemble and the Czech soprano and harpist Hana Blažiková in interpretations of Johann Sebastian Bach’s dialogue cantatas.

Boris Godunov - not by Mussorgsky. The story of how Johann Mattheson's political comedy Boris Goudenow came into being reads in large parts more exciting than many a mystery script: written in 1710 for the Hamburg Opera at the Gänsemarkt, the work was suddenly withdrawn by the composer. The score fell into oblivion, eventually found its way into the Hamburg City Library, and was long considered lost after World War II. It was not until the end of the 20th century that the opera was tracked down in Armenia and returned to Hamburg, where the premiere finally took place in 2005 after a delay of almost 300 years.The place of action is the Moscow Kremlin. The opera's plot revolves around the story of how the Russian prince Boris Goudenov rises to power through intrigue and becomes Russian tsar.The new Innsbruck production under the musical direction of the renowned Italian harpsichordist and conductor Andrea Marchiol makes this baroque jewel resound anew.

Man nehme die größten Partyhits vom Ballermann und mische diese mit den besten Karnevalshits der Saison - und schon ist sie fertig, die hochkarätige Partykanone "Ballermann Karneval Hits Megamix Vol.1"! Auf dieser 2CD versammeln sich alle wichtigen Stars der Partyszene wie Mia Julia, Lorenz Büffel, Peter Wackel oder Willi Herren mit ihren Hits. Gemixt in einem atemberaubenden Megamix von DJ Deep, ist "Ballermann Karneval Hits Megamix Vol.1" das Schwergewicht der Saison!

Der 30-jährige Krieg 1618-1648 zählt zu den dunkelsten Kapiteln in der europäischen Geschichte. An diese leidensreiche Zeit, die von Hunger und Tod geprägt war, erinnert jetzt das Weimarer Alte Musik-Ensemble "The Playfords" mit seinem Programm "Es geht ein dunkle Wolk herein - Lieder aus der Zeit des Dreißigjährigen Krieges". Es erklingen deutsche Balladen, Volkslieder, Hymnen auf Kriegshelden wie Tilly und Gustav Adolf, eindrückliche Lieder der Landsknechte, schwermütige Klagen und trotz allem ausgelassene Tänze, hoffnungsfroh erdachte Friedenslieder und eindrückliche Choräle aus der Zeit des Dreißigjährigen Krieges.

A Sloppy Piece of Work? This is how Franz Lehár described what was certainly his most successful work after The Merry Widow immediately after its composition. Today we know, however, that this was a gross misjudgment. Or if it was sloppy, then sloppy in a genial way. It bubbles over with catchy melodies, and dramaturgically it is in any case certainly the master's finest operetta: Der Graf von Luxemburg (The Count of Luxembourg). When the theater next-door to cpo in Osnabrück had the Graf on its program in 2011, it soon became clear that a stellar moment was involved here. The decision was quickly made to use this wonderful occasion for a production. The review of the operetta's premiere in Opernwelt shortly thereafter confirmed our decision: “The conductor Daniel Inbal passionately and elegantly brings out Lehár's intimate salon tone with the Osnabrück Symphony Orchestra, whose members play with the highest animation, carefully also in the postludes and transitional pieces, with what almost might be termed a fine operetta-philological feel. […] One feels empathy and great seriousness in the discerning treatment of the subject matter. Marco Vassalli, who is the spitting image of the young Johannes Heesters, fulfills the title hero's nonchalance requirement.”

Sigiswald Kuijken's Bach cantata recordings, and in particular his complete series for Accent which culminated almost a decade ago now, haven't enjoyed quite the degree of international attention garnered by those of John Eliot Gardiner and Masaaki Suzuki with their own respective series, and this perhaps isn't completely surprising when Kuijken has consistently championed the one-voice-to-a-part approach. After all, even if one can get on board with one-to-a-part from a historical accuracy perspective, many find it a little harder to get on board with from a pleasure-listening angle, when the casualty of all that authenticity is textural variety – and indeed there's evidence that Bach himself was often frustrated by the slim vocal forces at his disposal.

Even after the completion of the highly praised Bach cantata series, which was released between 2004 and 2014, and in which La Petite Bande recorded cantatas for every Sunday of the liturgical year, Sigiswald Kuijken still does not let go of his great passion for Johann Sebastian Bach.

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