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GRAMOPHONE (05/2024)
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AVIE Référence: AV2668 

Code barres / Barcode : 0822252266825

Reviewer : Edward Breen

I admire many recordings by Nicholas McGegan, particularly his volumes of Scarlatti cantatas with Arcadian Academy (Conifer, 6/97) and his first volumes of Bach cantatas with San Francisco-based Cantata Collective (Centaur). McGegan’s official biography describes his approach as being infused with joy and never dogmatic, and normally I would wholeheartedly agree, yet on this newest disc there is a slight disconnect between his gracious and joyful tempos and what is comfortable for the performers. Let’s consider the ‘Gloria’, where we have the best of McGegan’s style at the start: a sense of grandeur infused with a brisk and playful blaze of trumpets and drums. I admire the gentle transition into ‘et in terra pax’ but the fugal entries on ‘bonae voluntatis’ are a touch unstable, not helped by several cumbersome choral sibilants.

The soloists, happily, are all of a high standard: in the ‘Laudamus te’, star soprano Sherezade Panthaki is charming and sprightly despite the strings being a little prim for my taste; I think there’s more joy to be found in this ornate style, or at least more contrast in the middle section. In the following chorus, ‘Gratias agimus tibi’, I appreciate the austerity but some phrases feel laboured. The sopranotenor duet ‘Domine Deus’ is a highlight for its glorious flute-playing, with steady tone and graceful pairing of slurred notes; Panthaki is joined by tenor Thomas Cooley, who has an enviable tone despite some angular phrasing on ‘Rex coelestis’.

The ‘Credo’ begins with solo voices and I wish it continued that way because the sound of the chorus is a bit tired after the refreshing precision of the soloists. Similarly, the Sanctus – which tests the mettle of many choirs – never finds its footing either, and the glorious iterations of ‘Osanna in excelsis’ have too many intonation problems.

Reviewing their St John Passion (10/23), Mark Seow felt Cantata Collective had ‘jumped the gun’ by committing to record so soon and I’m inclined to repeat that sentiment here. Despite being full of passionate and attractive energy, this B minor Mass just isn’t quite ready to be committed to record: it’s not a true reflection of the talent and musicianship that these musicians clearly have. Do look out for the four vocal soloists, though: they really are fantastic.

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