Contralto

When this recording was released in 1996, the words most often used to describe it were "luminous" and "radiant." The adjectives fit: the choir and orchestra have a glowing sound that makes the chorales in particular wondrous to hear. The most extroverted choruses and arias lack the extra measure of vigorous excitement of John Eliot Gardiner's performance, but Koopman's tender approach is beguiling. What's more, his male soloists are marvelous: bass Klaus Mertens is sensitive and energetic in equal measure; Christoph Prégardien manages the fearsome tenor arias easily and his singing of the Evangelist's recitatives strikes a fine balance between vocalism and narration. Lisa Larsson's soprano and Elisabeth von Magnus's contralto have a purity suggestive of the teenage boys for whom Bach wrote (though one sometimes hears a youthful fragility in the voices as well).

This performance of Bach's St. Matthew Passion is sung in English and played on modern instrument. If that bothers you, don't bother checking out this recording. If it doesn't bother you, and you like the idea of a heartrending, awe-inspiring, and profoundly moving performance of Bach's sacred dramatic masterpiece, by all means, try this recording. David Willcocks, the dean of English choral conductors, leads the combined forces of the Bach Choir, the Boys' Choir of St. Paul's Cathedral, and the Thames Chamber Orchestra along with six A-list British soloists in a deeply human, intensely spiritual, and amazingly dramatic performance of the work.

Al publicar el presente volumen del Códice de Santa María la Real de las Huelgas, es un deber imperioso agradecer a las monjas de dicho Monasterio cisterciense su admirable y abnegada colaboración. El Códice de las Huelgas es el único manuscrito polifónico medieval que aún se conserva en el lugar de origen y es guardado por la misma orden que lo recopiló e interpretó fervorosamente desde hace siete siglos. Es también el único manuscrito importante que nos queda de la música religiosa medieval castellana y las monjas actuales, sucesoras en cierto modo de aquellas que dieron vida al Códice, accedieron con toda amabilidad y entusiasmo a nuestro deseo de que su presencia de hoy diera vida a los cantos de antaño bajo los mismos techos y con los mismos hábitos que lo hacían sus fieles antecesoras.

Gracias, a ellas, el «planctus» por la muerte de Alfonso VIII de Castilla, el noble fundador del Monasterio, ha resonado de nuevo ante la tumba del rey. Es ésta una página de la Historia de España que las monjas del Císter, dulcemente, casi sin darse cuenta, ibann resucitando siete siglos después, ante el testimonio mudo, pero de oídos bien despiertos, de unos micrófonos instalados en la clausura.

El trabajo de estas admirables monjas ocupa la primera cara de nuestro disco. Ante la imposibilidad de introducir instrumentistas en la clausura, las ejecuciones instrumentales y polifónicas han sido interpretadas por especialistas profesionales. Pero, en honor de las monjas cistercienses de las Huelgas, sólo voces de mujer resuenan en esta grabación, y éstas procuraron impregnarse previamente de la pura religiosidad que el Códice, las monjas y las Huelgas mismas respiran mansamente.

ROBERTO PLA, vol. 5, El Códice de las Huelgas

This performance of Bach's St. Matthew Passion is sung in English and played on modern instrument. If that bothers you, don't bother checking out this recording. If it doesn't bother you, and you like the idea of a heartrending, awe-inspiring, and profoundly moving performance of Bach's sacred dramatic masterpiece, by all means, try this recording. David Willcocks, the dean of English choral conductors, leads the combined forces of the Bach Choir, the Boys' Choir of St. Paul's Cathedral, and the Thames Chamber Orchestra along with six A-list British soloists in a deeply human, intensely spiritual, and amazingly dramatic performance of the work. But if you worry that modern flutes and updated English horns, or a round-toned chorus and warm-toned chorus, or a language you can readily comprehend might diminish your edification and enjoyment, don't bother with this recording..

It was bound to happen sooner or later: pretty much everything known by Mahler put into one box (16 cd's).EMI and DG–which also drew on the catalogues of Decca and Philips–have each produced complete-edition boxed sets to coincide with the 150th anniversary of Mahler's birth. One set seems like an inexhaustible treasure trove; the other one is more like a mere assemblage of all of Mahler's music.

Giovanni Battista Pergolesi had a tragically short career, living just 26 years, and producing most of his mature works over a period of about five years. This album includes three of the composer's most representative pieces. The most familiar is the 40-minute Stabat mater for soprano, alto, and orchestra, which was the most frequently published composition of the 18th century. This version, featuring soprano Rachel Harnisch and contralto Sara Mingardo, makes a splendid introduction to the work and should be of interest to anyone who loves this poignant music. …
by Stephen Eddins

…in the Stabat mater… Nuria Rial's clean-toned singing in 'Vidit suum' has impressive control, clarity and profound expression. The two voices blend effectively in 'Quis est homo'. Some aspects are superbly judged: several ritornelli are perfectly weighted and the Ricercar Consort play with sensual warmth - a sensation encouraged by a larger body of strings than is used in some performances.

Giovanni Battista Pergolesi had a tragically short career, living just 26 years, and producing most of his mature works over a period of about five years. This album includes three of the composer's most representative pieces. The most familiar is the 40-minute Stabat mater for soprano, alto, and orchestra, which was the most frequently published composition of the 18th century. This version, featuring soprano Rachel Harnisch and contralto Sara Mingardo, makes a splendid introduction to the work and should be of interest to anyone who loves this poignant music. Both soloists have expressive voices of exceptional purity and intensity, beautifully suited to this alternately serene and wrenching score. Mingardo is particularly striking in the aria, "Fac, ut portem Christi mortem," in which she descends into a baritonal range with startlingly solid, oaken timbre. The cheery, playful tone of the Violin Concerto reveals the composer's versatility and Giuliano Carmignola nails its technical demands with lovely tone and disarming grace.