Claudio Monteverdi: Vêpres de la Vierge - CD, Choir Coach, multimedia | Carus-Verlag

Claudio Monteverdi Vêpres de la Vierge

Vespers 1610 SV 206

Lire et écrire des évaluations
As with scarcely any other work of the 17th century, Monteverdi’s Vespers has found its way into today’s repertoire. For the new Carus recording two of the best German ensembles are performing together: the Lautten Compagney Berlin and amarcord. The ensemble amarcord is augmented by five guest singers, to be able to perform the passages for up to ten voices. However, each part is sung by a single performer. The present recording is based on the new Urtext sheet music edition by Carus.
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Consulter
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Ecouter (24)
  • Deus in adjutorium
  • Dixit Dominus
  • Nigra sum
  • Laudate pueri
  • Pulchra es
  • Laetatus sum
  • Duo Seraphim
  • Nisi Dominus
  • Audi caelum
  • Lauda Jerusalem
  • Sonata sopra Sancta Maria
  • Ave maris stella
  • Magnificat anima mea
  • Et exsultavit
  • Quia respexit
  • Quia fecit mihi magna
  • Et misericordia
  • Fecit potentiam
  • Deposuit potentes de sede
  • Esurientes implevit bonis
  • Suscepit Israel
  • Sicut locutus est
  • Gloria Patri
  • Sicut erat in principio
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S`exercer
  • carus music, the Choir Coach Üben mit carus music
    • Deus in adjutorium (Choir Coach, soprano 1)
    • Deus in adjutorium (Choir Coach, Slow mode, soprano 1)
    • Deus in adjutorium (Choir Coach, soprano 2)
    • Deus in adjutorium (Choir Coach, Slow mode, soprano 2)
    • Dixit Dominus (Choir Coach, soprano 1)
    • Dixit Dominus (Choir Coach, Slow mode, soprano 1)
    • Dixit Dominus (Choir Coach, soprano 2)
    • Dixit Dominus (Choir Coach, Slow mode, soprano 2)
    • Laudate pueri (Choir Coach, soprano 1)
    • Laudate pueri (Choir Coach, Slow mode, soprano 1)
    • Laudate pueri (Choir Coach, soprano 2)
    • Laudate pueri (Choir Coach, Slow mode, soprano 2)
    • Laetatus sum (Choir Coach, soprano 1)
    • Laetatus sum (Choir Coach, Slow mode, soprano 1)
    • Laetatus sum (Choir Coach, soprano 2)
    • Laetatus sum (Choir Coach, Slow mode, soprano 2)
    • Nisi Dominus (Choir Coach, soprano 1)
    • Nisi Dominus (Choir Coach, Slow mode, soprano 1)
    • Nisi Dominus (Choir Coach, soprano 2)
    • Nisi Dominus (Choir Coach, Slow mode, soprano 2)
    • Audi caelum (Choir Coach, soprano 1)
    • Audi caelum (Choir Coach, Slow mode, soprano 1)
    • Audi caelum (Choir Coach, soprano 2)
    • Audi caelum (Choir Coach, Slow mode, soprano 2)
    • Lauda Jerusalem (Choir Coach, soprano 1)
    • Lauda Jerusalem (Choir Coach, Slow mode, soprano 1)
    • Lauda Jerusalem (Choir Coach, soprano 2)
    • Lauda Jerusalem (Choir Coach, Slow mode, soprano 2)
    • Ave maris stella (Choir Coach, soprano 1)
    • Ave maris stella (Choir Coach, Slow mode, soprano 1)
    • Ave maris stella (Choir Coach, soprano 2)
    • Ave maris stella (Choir Coach, Slow mode, soprano 2)
    • Magnificat anima mea (Choir Coach, soprano 1)
    • Magnificat anima mea (Choir Coach, Slow mode, soprano 1)
    • Magnificat anima mea (Choir Coach, soprano 2)
    • Magnificat anima mea (Choir Coach, Slow mode, soprano 2)
    • Et misericordia (Choir Coach, soprano 1)
    • Et misericordia (Choir Coach, Slow mode, soprano 1)
    • Et misericordia (Choir Coach, soprano 2)
    • Et misericordia (Choir Coach, Slow mode, soprano 2)
    • Sicut erat in principio (Choir Coach, soprano 1)
    • Sicut erat in principio (Choir Coach, Slow mode, soprano 1)
    • Sicut erat in principio (Choir Coach, soprano 2)
    • Sicut erat in principio (Choir Coach, Slow mode, soprano 2)
    • Deus in adjutorium (Choir Coach)
    • Deus in adjutorium (Choir Coach, Slow mode)
    • Dixit Dominus (Choir Coach)
    • Dixit Dominus (Choir Coach, Slow mode)
    • Laudate pueri (Choir Coach, Alto 1)
    • Laudate pueri (Choir Coach, Slow mode, Alto 1)
    • Laudate pueri (Choir Coach, Alto 2)
    • Laudate pueri (Choir Coach, Slow mode, Alto 2)
    • Laetatus sum (Choir Coach)
    • Laetatus sum (Choir Coach, Slow mode)
    • Nisi Dominus (Choir Coach, Alto 1)
    • Nisi Dominus (Choir Coach, Slow mode, Alto 1)
    • Nisi Dominus (Choir Coach, Alto 2)
    • Nisi Dominus (Choir Coach, Slow mode, Alto 2)
    • Audi caelum (Choir Coach)
    • Audi caelum (Choir Coach, Slow mode)
    • Lauda Jerusalem (Choir Coach, Alto 1)
    • Lauda Jerusalem (Choir Coach, Slow mode, Alto 1)
    • Lauda Jerusalem (Choir Coach, Alto 2)
    • Lauda Jerusalem (Choir Coach, Slow mode, Alto 2)
    • Ave maris stella (Choir Coach, Alto 1)
    • Ave maris stella (Choir Coach, Slow mode, Alto 1)
    • Ave maris stella (Choir Coach, Alto 2)
    • Ave maris stella (Choir Coach, Slow mode, Alto 2)
    • Magnificat anima mea (Choir Coach)
    • Magnificat anima mea (Choir Coach, Slow mode)
    • Magnificat anima mea (Choir Coach)
    • Magnificat anima mea (Choir Coach, Slow mode)
    • Et misericordia (Choir Coach)
    • Et misericordia (Choir Coach, Slow mode)
    • Sicut erat in principio (Choir Coach)
    • Sicut erat in principio (Choir Coach, Slow mode)
    • Deus in adjutorium (Choir Coach, Tenore 1)
    • Deus in adjutorium (Choir Coach, Slow mode, Tenore 1)
    • Deus in adjutorium (Choir Coach, Tenore 2)
    • Deus in adjutorium (Choir Coach, Slow mode, Tenore 2)
    • Dixit Dominus (Choir Coach, Tenore 1)
    • Dixit Dominus (Choir Coach, Slow mode, Tenore 1)
    • Dixit Dominus (Choir Coach, Tenore 2)
    • Dixit Dominus (Choir Coach, Slow mode, Tenore 2)
    • Laudate pueri (Choir Coach, Tenore 1)
    • Laudate pueri (Choir Coach, Slow mode, Tenore 1)
    • Laudate pueri (Choir Coach, Tenore 2)
    • Laudate pueri (Choir Coach, Slow mode, Tenore 2)
    • Laetatus sum (Choir Coach, Tenore 1)
    • Laetatus sum (Choir Coach, Slow mode, Tenore 1)
    • Laetatus sum (Choir Coach, Tenore 2)
    • Laetatus sum (Choir Coach, Slow mode, Tenore 2)
    • Nisi Dominus (Choir Coach, Tenore 1)
    • Nisi Dominus (Choir Coach, Slow mode, Tenore 1)
    • Nisi Dominus (Choir Coach, Tenore 2)
    • Nisi Dominus (Choir Coach, Slow mode, Tenore 2)
    • Audi caelum (Choir Coach, Tenore 1)
    • Audi caelum (Choir Coach, Slow mode, Tenore 1)
    • Audi caelum (Choir Coach, Tenore 2)
    • Audi caelum (Choir Coach, Slow mode, Tenore 2)
    • Lauda Jerusalem (Choir Coach)
    • Lauda Jerusalem (Choir Coach, Slow mode)
    • Ave maris stella (Choir Coach, Tenore 1)
    • Ave maris stella (Choir Coach, Slow mode, Tenore 1)
    • Ave maris stella (Choir Coach, Tenore 2)
    • Ave maris stella (Choir Coach, Slow mode, Tenore 2)
    • Magnificat anima mea (Choir Coach, Tenore 1)
    • Magnificat anima mea (Choir Coach, Slow mode, Tenore 1)
    • Magnificat anima mea (Choir Coach, Tenore 2)
    • Magnificat anima mea (Choir Coach, Slow mode, Tenore 2)
    • Et misericordia (Choir Coach)
    • Et misericordia (Choir Coach, Slow mode)
    • Sicut erat in principio (Choir Coach, Tenore 1)
    • Sicut erat in principio (Choir Coach, Slow mode, Tenore 1)
    • Sicut erat in principio (Choir Coach, Tenore 2)
    • Sicut erat in principio (Choir Coach, Slow mode, Tenore 2)
    • Nisi Dominus (Choir Coach)
    • Nisi Dominus (Choir Coach, Slow mode)
    • Nisi Dominus (Choir Coach)
    • Nisi Dominus (Choir Coach, Slow mode)
    • Deus in adjutorium (Choir Coach)
    • Deus in adjutorium (Choir Coach, Slow mode)
    • Dixit Dominus (Choir Coach)
    • Dixit Dominus (Choir Coach, Slow mode)
    • Laudate pueri (Choir Coach, Basse 1)
    • Laudate pueri (Choir Coach, Slow mode, Basse 1)
    • Laudate pueri (Choir Coach, Basse 2)
    • Laudate pueri (Choir Coach, Slow mode, Basse 2)
    • Laetatus sum (Choir Coach)
    • Laetatus sum (Choir Coach, Slow mode)
    • Nisi Dominus (Choir Coach, Basse 1)
    • Nisi Dominus (Choir Coach, Slow mode, Basse 1)
    • Nisi Dominus (Choir Coach, Basse 2)
    • Nisi Dominus (Choir Coach, Slow mode, Basse 2)
    • Audi caelum (Choir Coach)
    • Audi caelum (Choir Coach, Slow mode)
    • Lauda Jerusalem (Choir Coach, Basse 1)
    • Lauda Jerusalem (Choir Coach, Slow mode, Basse 1)
    • Lauda Jerusalem (Choir Coach, Basse 2)
    • Lauda Jerusalem (Choir Coach, Slow mode, Basse 2)
    • Ave maris stella (Choir Coach, Basse 1)
    • Ave maris stella (Choir Coach, Slow mode, Basse 1)
    • Ave maris stella (Choir Coach, Basse 2)
    • Ave maris stella (Choir Coach, Slow mode, Basse 2)
    • Magnificat anima mea (Choir Coach, Basse 1)
    • Magnificat anima mea (Choir Coach, Slow mode, Basse 1)
    • Magnificat anima mea (Choir Coach, Basse 2)
    • Magnificat anima mea (Choir Coach, Slow mode, Basse 2)
    • Quia fecit mihi magna (Choir Coach, Basse 1)
    • Quia fecit mihi magna (Choir Coach, Slow mode, Basse 1)
    • Quia fecit mihi magna (Choir Coach, Basse 2)
    • Quia fecit mihi magna (Choir Coach, Slow mode, Basse 2)
    • Et misericordia (Choir Coach, Basse 1)
    • Et misericordia (Choir Coach, Slow mode, Basse 1)
    • Et misericordia (Choir Coach, Basse 2)
    • Et misericordia (Choir Coach, Slow mode, Basse 2)
    • Sicut erat in principio (Choir Coach, Basse 1)
    • Sicut erat in principio (Choir Coach, Slow mode, Basse 1)
    • Sicut erat in principio (Choir Coach, Basse 2)
    • Sicut erat in principio (Choir Coach, Slow mode, Basse 2)
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Compléments
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  • 1. Deus in adjutorium

    Make haste, O God, to deliver me.

    Make haste to help me, O Lord.
    Glory be to the Father, and to the Son,
    and to the Holy Ghost;
    as it was in the beginning,
    is now, and ever shall be:
    world without end. Amen.
    Alleluia.
    Ingressus of the Vespers. Psalms 69:2 (Vulgate 69:2)

    2. Dixit Dominus

    The Lord said unto my Lord,
    sit thou at my right hand,
    until I make thine enemies
    thy footstool.
    The Lord shall send the rod of thy strength out of Zion:
    rule thou in the midst of thine enemies.
    Thine shall be the dominion in the day of thy power,
    ...
  • 1. Deus in adjutorium

    Gott, auf meine Hilfe sei bedacht.

    Herr, eile mir zu helfen.
    Ehre sei dem Vater und dem Sohne
    und dem Heiligen Geiste:
    wie es war im Anfange
    und jetzt und allezeit
    und von Ewigkeit zu Ewigkeit. Amen.
    Alleluja.
    Vesper-Ingressus. Psalm 69,2 (Vulgata 69,2)

    2. Dixit Dominus

    Es sprach der Herr zu meinem Herrn:
    Setze dich zu meiner Rechten,
    bis ich deine Feinde hinlege als Schemel für deine Füße.
    Das Zepter deiner Macht wird der Herr von Sion ausgehen lassen:
    Herrsche inmitten deiner Feinde.
    Bei dir ist Herrschaft am Tage deiner Macht
    im Glanze der Heiligen;
    ich habe dich aus meinem Schoße gezeugt vor

    ...
  • 1. Deus in adjutorium

    Deus in adjutorium meum intende:

    Domine ad adjuvandum me festina.
    Gloria Patri, et Filio,
    et Spiritui Sancto.
    Sicut erat in principio,
    et nunc, et semper,
    et in saecula saeculorum. Amen.
    Alleluja.
    Vesper-Ingressus. Psalm 69,2 (Vulgata 69,2)

    2. Dixit Dominus

    Dixit Dominus Domino meo:
    Sede a dextris meis.
    Donec ponam inimicos tuos
    scabellum pedum tuorum.
    Virgam virtutis tuae emittet
    Dominus ex Sion:
    dominare in medio inimicorum tuorum.
    Tecum principium in die virtutis tuae
    in splendoribus sanctorum:

    ...
  • Text from the CD Carus 83.394

    Uwe Wolf
    Translation: Elizabeth Robinson

    1610. Claudio Monteverdi has been in service in Mantua for about 20 years, for the last seven as “maestro della musica” to the Duke of Mantua. Thanks to this employment he was able to write works including the operas L’Orfeo (1607) and L’Arianna (1608) which enjoyed great success beyond the region. But the numerous duties of his position drained his energies. He found it difficult to recover from the death of his wife in the autumn of 1607 and after her funeral initially did not want to return to Mantua at all. A church music position which might provide regular employment seemed worth striving for, but he was turned down for one such position, that of succeeding Giovanni Giacomo Gastoldi, who had died in 1609, as maestro di cappella at S. Barbara in Mantua. In 1610 Monteverdi had the opportunity

    ...
  • Booklet-Text der CD Carus 83.394

    Uwe Wolf

    1610. Claudio Monteverdi ist seit rund 20 Jahren in Mantuaer Diensten, seit sieben Jahren als „maestro della musica“ des Duca di Mantova. Dieser Anstellung verdanken wir u. a. die Opern L’Orfeo (1607) und L’Arianna (1608), mit denen Monteverdi große, überregional beachtete Erfolge feiern konnte. Aber die zahlreichen Verpflichtungen seines Amtes zehren an Monteverdi, der sich zudem nur schwer von dem Tod seiner Frau im Herbst 1607 erholen kann und nach deren Beisetzung er zunächst sogar gar nicht mehr nach Mantua zurückkehren wollte. Erstrebenswert scheint Monteverdi eine kirchenmusikalische Anstellung, von der er sich einen geregelteren Dienst erhoffen kann, doch die Nachfolge des 1609 verstorbenen Kapellmeisters an S. Barbara in Mantua, Giovanni Giacomo Gastoldi, bleibt ihm verwehrt. In dieser Situation bietet sich Monteverdi 1610

    ...
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Acheter
disque compact Carus 83.394/00, EAN 4009350833944 CD dans un écrin
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  • During his youth in Cremona, Monteverdi received his first musical training from Marc'Antonio Ingegneri, the maestro di cappella at the Cathedral. After making his name with his first publications, including his First Book of Madrigals, he moved to the Gonzaga court in Mantua in 1590: he remained in the service of the family for twenty-two years, first as singer and violist, and later as maestro di cappella. There he composed further books of madrigals and, with L'Orfeo in 1607, one of the earliest operas in the history of music. The Vespers of the Blessed Virgin were also written in Mantua in 1610. In 1613 became Monteverdi maestro di cappella at St Mark's in Venice. He spent thirty musically fruitful years in this post. He composed sacred works, but remained interested in secular music and published his most extensive secular collections with books six to eight of his Madrigals. After the opening of the Venice opera house in 1637, the first public opera house ever , he returned to composing opera once more: both of his late operas, Il ritorno d'Ulisse in Patria and L'incoronazione di Poppea received their first performances here. Plus d'information sur la personne
  • Uwe Wolf studied musicology, history, and historical ancillary science at Tübingen and Göttingen. After receiving his doctorate in 1991 he was a research assistant at the Johann-Sebastian-Bach-Institut in Göttingen. From 2004 he worked at the Bach-Archiv Leipzig. There he directed a both research departments, was substantially responsible for the redisigning of the Bach Museum, and he developed the digital Online-Projekt Bach. Since October 2011 he has been the Chief Editor at Carus-Verlag, Stuttgart. He has taught at various universities and also belongs to the editorial boards of several complete editions. Plus d'information sur la personne
  • Wolfgang Katschner studied guitar at the Hanns Eisler High School for Music in Berlin and lute at the High School for Music and Theatrical Arts in Frankfurt am Main. Following an engagement at the Schwerin Theater, he has worked as a freelance musician since 1984. His posts have included that of manager and dramaturg for the Schütz Academy as well as a professor of lute and guitar at the Music High Schools of Berlin and Dresden. Today much of his artistic work is with the Lautten Compagney and Capella Angelica ensembles. In recent years he has also figured more and more as a conductor, enjoying great success in that role. Plus d'information sur la personne
  • The Lautten Compagney is one of the most renowned and creative baroque instrument ensembles in Germany. Their concerts, under the artistic direction of Wolfgang Katschner, have fascinated audiences for three decades. With their infectious joy in performing and their innovative concepts, these ‘early musicians’ effortlessly translate the musical language of the Baroque to the present. Whether it’s as a solo chamber ensemble or an opera orchestra, the ensemble is continually crossing boundaries and seeking out encounters with new sounds and other art forms. The ensemble has received numerous awards for its exciting musical collaborations. For its CD recording of the program Timeless, combining early Baroque music with works by Philip Glass, it received an ECHO Klassik award in 2010. And their winning the Rheingau Musik Prize 2012 was in recognition of the Lautten Compagney’s creative concert programming. The ensemble has a particular interest in music theater, especially the works of George Frideric Handel. Their performances of Handel’s Serse on a tour of New Zealand in 2011 took both audiences and press by storm. Their production of Rinaldo, a collaboration with the Milan puppet company Carlo Colla e Figli, was enthusiastically received by young and old alike. The Lautten Compagney is a regular guest at leading national and international concert halls and festivals, including the Konzerthaus and Radialsystem V in Berlin, the Leipzig Gewandhaus, Frauenkirche Dresden, Concertgebouw Amsterdam, Vienna Musikverein, Warsaw Philharmonic, An unmistakable sound, breathtaking blend, tremendous sense of musical assurance and a good portion of charm and wit are amarcord’s special hallmarks. The group’s extremely diverse and wide-ranging repertoire encompasses medieval songs, Renaissance madrigals and masses, compositions and cycles of works from the European Romantic and 20th century as well as a cappella arrangements of folk songs from all over the world, and well-known rock, pop, soul, and jazz songs. The ensemble has won prizes at numerous international competitions. In 2002 amarcord won the Deutscher Musikwettbewerb. Alongside the Gewandhaus Orchestra and St. Thomas’s Choir, amarcord is one of the most important representatives of the music city of Leipzig at home and abroad. The group is a frequent guest at leading music festivals. Numerous concert tours have taken the singers to over fifty countries and to almost every continent in the world. In association with the Goethe-Institut they have given guest performances in Australia, South East Asia, the Middle East, Russia, Africa, and Central America. The International Festival for Vocal Music “a cappella” (www.a-cappella-festival.de), inaugurated by amarcord in 1997, has become one of the most important festivals of its kind under the group’s artistic direction. Numerous CDs impressively document the different facets of amarcord’s repertoire, and have won many prizes such as ECHO Klassik (2010, 2012), the International Classical Music Award, Supersonic Award and the Contemporary A Cappella Recording Award. Plus d'information sur la personne
  • An unmistakable sound, breathtaking blend, tremendous sense of musical assurance and a good portion of charm and wit are amarcord’s special hallmarks. The group’s extremely diverse and wide-ranging repertoire encompasses medieval songs, Renaissance madrigals and masses, compositions and cycles of works from the European Romantic and 20th century as well as a cappella arrangements of folk songs from all over the world, and well-known rock, pop, soul, and jazz songs. The ensemble has won prizes at numerous international competitions. In 2002 amarcord won the Deutscher Musikwettbewerb. Alongside the Gewandhaus Orchestra and St. Thomas’s Choir, amarcord is one of the most important representatives of the music city of Leipzig at home and abroad. The group is a frequent guest at leading music festivals. Numerous concert tours have taken the singers to over fifty countries and to almost every continent in the world. In association with the Goethe-Institut they have given guest performances in Australia, South East Asia, the Middle East, Russia, Africa, and Central America. The International Festival for Vocal Music "a cappella" (www.a-cappella-festival.de), inaugurated by amarcord in 1997, has become one of the most important festivals of its kind under the group’s artistic direction. Numerous CDs impressively document the different facets of amarcord’s repertoire, and have won many prizes such as ECHO Klassik (2010, 2012), the International Classical Music Award, Supersonic Award and the Contemporary A Cappella Recording Award. Plus d'information sur la personne
  • Wolfgang Katschner studied guitar at the Hanns Eisler High School for Music in Berlin and lute at the High School for Music and Theatrical Arts in Frankfurt am Main. Following an engagement at the Schwerin Theater, he has worked as a freelance musician since 1984. His posts have included that of manager and dramaturg for the Schütz Academy as well as a professor of lute and guitar at the Music High Schools of Berlin and Dresden. Today much of his artistic work is with the Lautten Compagney and Capella Angelica ensembles. In recent years he has also figured more and more as a conductor, enjoying great success in that role. Plus d'information sur la personne

Critiques

Weil das leider nicht so einfach ist, ist es gut, beispielhafte Einspielungen hören zu können. Die vorliegende CD ist so eine...
Rainer Goede, Forum Kirchenmusik, März/April 2018

The singers are outstanding: there is no hint of vibrato, the delivery is impressive thanks to a perfect diction and articulation, and the ornaments - whether written out or added by the performers - are immaculately executed.Overall I have greatly enjoyed this recording.
Johan van Veen, musica-dei-donum.org, Juni 2015

[Die Marienvesper] ist hier in den besten Händen und vermag den Hörer mit prächtigster Klangentfaltung in den Bann ziehen.
Neue Bachgesellschaft e.V., Mitteilungsblatt Nr. 75, Winter 2014/2015

Monteverdis wuchtigstes, zartestes, aufrüttelndes Werk ist in der Interpretation der Berliner und Leipziger Musiker genau das: aufrüttelnd, rau bisweilen und wunderschön.
Harald Jähner, mz-web.de, 18.12.2014

Im Zusammenspiel drücken die höchst professionell agierenden Ausführenden eine intensive Hingabe aus, die beim Hören direkt ins Herz geht.
DIE TONKUNST, Januar 2015

[…] brillierende[.] Virtuosität, Klarheit und große[.] musikantische[.] Energie […]
Sybille Graf, Dresdner Neueste Nachrichten, 15. Dezember 2014

[.] ein absoluter Genuss für die Sinne.
Martina Rupprecht, viva!-Magazin, Dezember 2014/Januar 2015 Monteverdis Marienvesper in einer schlichten, intimem und dem Text bestens gerecht werdenden Aufführung der Lautten-Compagney und des hervorragenden Ensemble Amarcord.
This account of Monteverdi’s Vespro della Beata Vergine is very initimate and transparent, giving a wonderful expressivity to the music.
Guy Engels, www.pizzicato.lu, 3. Dezember 2014

[…] diese Einspielung der Marienvesper von Claudio Monteverdi ist mehr als ein Hinhören wert […]
Michael Klein, Glaube+Heimat, 7. Dezember 2014

Gegen seine furiose Einspielung wirken tatsächlich die meisten anderen Aufnahmen etwas lau, teilweise halbgar; Katschner bleibt seinem Ideal, immer ein Optimum an Vermittlungsintensität zu liefern, auch hier wieder treu.
Michael Wersin, rondomagazin.de, 29. November 2014

[…] schlank und wundervoll ausgewogen […]
Hagen Kunze, „Kreuzer”-Magazin, 12/2014

Amarcord hat mit ‚seiner‘ Marienvesper weit mehr getan, als einer sehr verständlichen Liebhaberei nachzugeben. Eine deutlich konkurrenzfähige Einspielung.
Dr. Matthias Lange, klassik.com, 21. November 2014

Das ist spannend von der ersten bis zur letzten Minute, toll gesungen, toll gespielt […]
Anja Herzog, rbb kulturradio, 7. November 2014

Wolfgang Katschner ist mit seiner Berliner Lautten Compagney und amarcord eine Einspielung gelungen, die […] das Kaleidoskopartige dieser Vesper in lustvoll musizierter Farbigkeit zeigt.
Karsten Blüthgen, Chorzeit, November 2014

[…] eine Einspielung, die mit größter Selbstverständlichkeit das Beste zweier Welten zusammenbringt: stilsichere Disziplin und überbordende Sinnlichkeit. Großartig.
Leipziger Volkszeitung, 11./12. Oktober 2014

Lautten Compagney-Chef Wolfgang Katschner indes weiß das Werk mit instrumentalen Extensionen auszuschmücken und das Hören zu einer immer wieder überraschenden Klangwanderung zu machen. Und auch die Amarcordianer haben nichts von ihrer stimmlichen Virtuosität und zwingenden Interpretation verloren.
concerti, November 2014

Eine ergreifende und emphatische Einspielung; Monteverdis prachtvolle Musik klingt frisch und unverbraucht und erweist erneut ihre Genialität.
Georg Henkel, musikansich.de, September 2014


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