Texte paru dans: / Appeared in:
*
  
GRAMOPHONE (09/2013)
Pour s'abonner / Subscription information
BIS
 BIS2041



 Code-barres / Barcode : 7318599920412

Consultez toutes les évaluations recensées pour ce cd ~~~~ Reach all the evaluations located for this CD

 

Reviewer: Lindsay Kemp
 

Suzuki Bach cycle alights on the secular cantatas

 A third volume of secular cantatas finds the Bach Collegium Japan celebrating red-letter days of people who would surely have been surprised at still being honoured nearly 300 years later. Presumably Bach agreed, since he later ‘rescued’ the music from two of these works to make church cantatas, the exception being BWV202, the famous ‘Wedding Cantata’ for solo soprano and obbligato oboe. This is sung here by Joanne Lunn, currently one of the most straightforwardly attractive Bach voices around; although slightly covered at the start by a surprisingly heavily handled oboe (much better in its second aria), she can mostly be enjoyed in heartwarming radiance and clarity. She also shines in BWV173a, a piece praising Bach’s employer Prince Leopold of AnhaltCöthen, in which her bright innocence echoes the dancing flute-and-violin lightness of the music. This is not high-flown stuff but exudes the kind of carefree happiness Bach seems to have enjoyed at the Cöthen court. Roderick Williams is a dependable and manly companion in this work, and the two of them are joined by the light but firm tenor Makoto Sakurada,

 

together with a chorus, in BWV36c, a longer and more self-consciously dignified creation lauding the birthday of some Leipzig professor or other. Serious it may be but there are some lovely things here, none more so than the nineminute aria for soprano and tenderly doting viola d’amore.

 

As ever, Suzuki and colleagues are excellent, their collective experience as Bach interpreters enabling them to gel as one. You feel you are ever safe in their hands; but if you think that simply means no surprises, listen to them cut loose in the lusty Wedding Quodlibet, an in-jokefuelled nonsense-fest for four voices and continuo, probably written for a Bach family wedding. Its original concluding fugue has gone missing but BCJ have found a witty way to acknowledge its former presence. I won’t spoil things by describing it here. 


Fermer la fenêtre/Close window

   

Cliquez l'un ou l'autre bouton pour découvrir bien d'autres critiques de CD
 Click either button for many other reviews