Vernier

Frieder Bernius and his Stuttgart forces weigh in with one of the finer Mozart Requiems in a very crowded field–and to ensure this performance’s relative exclusivity, it’s one of only a handful of recordings that use the edition by Franz Beyer, an intelligent and persuasive 1971 effort to correct “obvious textural errors” and some decidedly un-Mozartian features in the orchestration attributable to Franz Süssmayr, Mozart’s pupil/assistant who completed the work after the master’s death. This live concert performance from 1999 offers well-set tempos (including a vigorous Kyrie fugue), infectious rhythmic energy from both chorus and orchestra, robust, precise, musically compelling choral singing, a first rate quartet of soloists–and, especially considering its concert-performance setting, impressively detailed and vibrant sonics. The CD also features informative notes by Beyer himself.

This new Saul, recorded live in July 2008 in the breathtaking, beautifully restored Dresden Frauenkirche, captures the grand scale, interactive drama, exciting choruses, and sumptuous, scintillating orchestral writing of Handel's huge, three-act oratorio. And of course, there are loads of well-sung airs and recits that make their dramatic points especially well due not only to the fine lineup of soloists but also to conductor Hans-Christoph Rademann's masterful pacing and careful textural balances.

This collection puts some of the best Purcell on display–and it couldn't have a more musical or vocally accomplished advocate than Canadian soprano Karina Gauvin. Her voice is pretty for sure, but it also has richness and substance, not to mention a most endearing vibrato that adds an earnestness and enlivening tension to everything she sings.