Reinhard Keiser

Is another baroque opera–in this case by composer Reinhard Keiser (1674-1739)–really worth hearing in its entirety? After a completely conventional overture, the opening scene pits the legendarily rich king of Lydia, the titular Croesus (who incidentally lived in the fifth century B.C.), against the Athenian philosopher and lawgiver Solon. On account of his immeasurable wealth, the complacent Croesus believes himself to be completely secure and unassailable; Solon mocks his riches and points out how ephemeral all earthly goods are. This exchange of words via recitative is perfectly built up–both as a composition and as performed here. From his very first notes, Roman Trekel's Croesus carries conviction, while Kwangchul Youn (a role originally intended for tenor but justifiably and effectively transcribed by conductor René Jacobs for bass) is no less impressive.

In the heyday of the Hamburg Baroque Opera (1697-1718) Keiser played with his own compositions approximately the entire game plan. Keiser is the composer to whom the opera at the Gänsemarkt has remained connected for the longest time; his name and more than 100 opera works are synonymous with the Hamburg baroque opera.

Is another baroque opera–in this case by composer Reinhard Keiser (1674-1739)–really worth hearing in its entirety? After a completely conventional overture, the opening scene pits the legendarily rich king of Lydia, the titular Croesus (who incidentally lived in the fifth century B.C.), against the Athenian philosopher and lawgiver Solon. On account of his immeasurable wealth, the complacent Croesus believes himself to be completely secure and unassailable; Solon mocks his riches and points out how ephemeral all earthly goods are…
–Michael Wersin

This world premiere recording of this Christmas oratorio by Reinhard Keiser (1674-1739) makes available one of the few surviving sacred works by a musician who was highly regarded by his contemporaries, primarily as a composer of operas. Well-known Christmas chorales, opulently scored, with rich polyphony, depict with great delicacy, the scene around the crib at Bethlehem.

The Brockes-Passion can be considered the archetype of the German Passion oratorio. As such, it served as a model and source ofinspiration for famous later masterpieces, enjoying uninterrupted popularity throughout the 18th century when no less than 11 composers, including Handel and Telemann, set it to music. The superb version by Reinhard Keiser (1674-1739) is not only the first but also adheres most closely to the great rhetorical power and rich changes of affects of the poets text. In German literary history, Barthold Heinrich Brockes (1680-1747) is known above all for his innovative role during the second quarter of the 18th century.

Musik der Hamburger Pfeffersäcke, The term "Pfeffersäcke" was a derogatory name for the spice merchants who provided the financial support for the arts in Hamburg. The compositions on this CD are all known to have been sponsored by the Hamburg merchants. Soprano Yeree Suh joins the Elbipolis Baroque Orchestra Hamburg in these lively and dedicated performances.

Following the success of her 2011 album, Diva Divo, mezzo-soprano Joyce DiDonato presents an exciting collection of virtuosic arias in her 2012 release on Virgin, Drama Queens. Drawing on royal roles in Baroque operas by Handel, Monteverdi, and Haydn, as well as selections from such minor composers as Orlandini, Porta, Keiser, Hasse, Cesti, and Giacomelli, DiDonato demonstrates both her impressive vocal abilities and a wide range of characterizations. Supported by the period ensemble Il Complesso Barocco, conducted by Alan Curtis, DiDonato sings with dynamic power and exquisite embellishments, executing runs and ornaments with sparkling brilliance and projecting her voice with ease. But even more important than her technical prowess is her charismatic presentation of these 17th and 18th century opera heroines, whose passionate emotions and exaggerated behavior are wonderfully realized in DiDonato's dramatic interpretations.