Carolyn Sampson Wadsworth

There is no doubt that the forces Herrweghe has employed here are some of the best in the 'Passion' business. Aside from this, however, one cannot eliminate the fact that there are several other notable recordings of this work that stand on their own merit, which for the most part are as 'good' or as 'bad' as this one. The three that I own which includes this one(all reviewed by me on Customer reviews) are: Gardiner's 1988 recording with the outstanding Monteverdi Choir that sparkles and shines as only they can; the 1994 Cleobury King's College Choir recording, whose soloists are superb etc. etc. etc. So it all really amounts to what YOU hear and what turns YOU on!

Handel's Nine German Arias have been well served on record, with fine CDs already available from Emma Kirkby, Monika Mauch, Julianne Baird, Carolyn Sampson and Arleen Augér among others. For the present recording, the Catalan soprano Nuria Rial comes well equipped to match this stiff competition, with a voice both rich and pure, a sure feeling for baroque style and, what is more, an exceptionally sensitive and brilliant accompaniment by the Austrian Baroque Company led by Michael Oman. Amazon review

Buxtehude’s cantata cycle, Membra Jesu Nostri, is a unique work. Based on texts from a medieval Latin hymn, ‘Salve mundi salutare’, the cycle contains seven cantatas each dedicated to a different part of Christ’s crucified body. The texts are based on the concept of an observer contemplating Christ’s body on the cross starting with his feet and moving up to his knees, hands, side, breast, heart and finally his head. Buxtehude plays cleverly with musical colours and textures and changes the mixture of voices and instruments to dramatic effect as the work develops.

Soprano Lucy Crowe joins The English Concert led by Harry Bicket in this dazzling programme of Handel arias and cantatas dating from his 1706-10 sojourn in Italy, where he was affectionately dubbed ‘the dear Saxon’. 2nd in the 2005 Kathleen Ferrier and a Wigmore Young Artist, Lucy Crowe made her debuts with Scottish Opera as Sophie in 'Der Rosenkavalier' and ENO as Poppea in 'Agrippina', both to great critical acclaim.

Fortepiano phenomenon Kristian Bezuidenhout begins his multi-volume traversal of Mozart’s music for solo keyboard.

In the history of Bach’s musical legacy, the St John Passion has always stood in the shadow of the St Matthew Passion. The repercussions of the first revival of the St Matthew after Bach’s death, which took place in Berlin under the direction of the twenty-year-old Felix Mendelssohn Bartholdy, decisively contributed to gaining it a unique position. But at the same time the great success of the St Matthew aroused a wider interest in Bach’s large-scale vocal works that initially benefited the St John Passion above all.
By Charles Johnston