Un enregistrement aura rarement été plus attendu que ce Messie avec Frieder Bernius. Il se distingue par le soin particulier porté au son et à l'interprétation de l'ensemble - le Kammerchor et le Barockorchester Stuttgart se sont forgés une solide réputation en matière d'interprétation historique – ainsi que par les quatre solistes talentueux. Carus poursuit ici sa série d'enregistrement des œuvres de Georg Friedrich Händel au moment même où l'on célèbre l'anniversaire de sa mort. Händel composa cet oratorio en trois parties pour le roi d'Angleterre, et sa création en 1742 à Dublin connut un grand succès. „The Sacred Oratorio“, comme il fut appelé par les contemporains, combine des éléments des „anthems“ anglais, de l'oratorio italien ainsi que des passions allemandes. Le Messie fut du vivant de Händel une de ses œuvres les plus jouées et devint presque objet de culte.
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Ecouter
(47)
- 21. Chorus: Surely He hath borne our griefs
- 43. Air (Basso): The trumpet shall sound
- 7. And he shall purify
- 15. Chorus: Glory to God in the highest
- 1. Sinfony
- 4. Chorus: And the glory of the Lord
- 11. Chorus: For unto us a child is born
- 18. Chorus: His yoke is easy
- 19. Chorus: Behold the Lamb of God
- 22. Chorus: And with His stripes we are healed
- 23. Chorus: All we, like sheep
- 25. Chorus: He trusted in God that He would deliver Him
- 30. Chorus: Lift up your heads
- 33. Chorus: The Lord gave the word
- 35. Chorus: Their sound is gone out
- 37. Chorus: Let us break their bonds asunder
- 41. Chorus: Since by man came death
- 45. Chorus: But thanks be to God
- 47. Chorus: Worthy is the Lamb that was slain, 48. Chorus: Amen
- 2. Accompagnato (Tenore): Comfort ye my people
- 3. Air (Tenore): Ev’ry valley shall be exalted
- 5. Accompagnato (Basso): Thus saith the Lord
- 6. Air (Alto): But who may abide
- Recitative (Alto): Behold, a virgin shall conceive, 8. Air (Alto) and Chorus: O thou that tellest good tidings to Zion
- 9. Accompagnato (Basso): For behold, darkness shall cover the earth
- 10. Air (Basso): The people that walked in darkness
- 12. Pifa, Recitative (Soprano): There were shepherds abiding in the field
- 13. Accompagnato (Soprano): And lo, the angel of the Lord
- Recitative (Soprano): And the angel said unto them, 14. Accompagnato (Soprano): And suddenly there was with the angel
- 16. Air (Soprano): Rejoice greatly
- Recitative (Alto): Then shall the eyes of the blind, 17. Air (Alto, Soprano): He shall feed His flock
- 20. Air (Alto): He was despised
- 24. Accompagnato (Tenore): All they that see Him
- 26. Accompagnato (Tenore): Thy rebuke hath broken His heart
- 27. Arioso (Tenore): Behold, and see, if there be any sorrow
- 28. Accompagnato (Tenore): He was cut off out of the land of the living
- 29. Air (Tenore): But Thou didst not leave His soul in hell
- Recitative (Tenore): Unto which of the angels, 31. Chorus: Let all the angels of God worship Him
- 32. Air (Alto): Thou art gone up on high
- 34. Air (Soprano): How beautiful are the feet of them
- 36. Air (Basso): Why do the nations
- Recitative (Tenore): He that dwelleth in heaven, 38. Air (Tenore): Thou shalt break them
- 39. Halleluja
- 40. Air (Soprano): I know that my Redeemer liveth
- 42. Accompagnato (Basso): Behold, I tell you a mystery
- Recitative (Alto): Then shall be brought to pass, 44. Duet (Alto, Tenore): O death, where is thy sting?
- 46. Air (Soprano): If God be for us
S`exercer
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Aides à l'apprentissage
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Aides à l'apprentissage voix soprano
- 4. Chorus: And the glory of the Lord (Choir Coach)
- 6. Air (Alto): But who may abide (Choir Coach)
- Recitative (Alto): Behold, a virgin shall conceive, 8. Air (Alto) and Chorus: O thou that tellest good tidings to Zion (Choir Coach)
- 11. Chorus: For unto us a child is born (Choir Coach)
- 15. Chorus: Glory to God in the highest (Choir Coach)
- 18. Chorus: His yoke is easy (Choir Coach)
- 19. Chorus: Behold the Lamb of God (Choir Coach)
- 21. Chorus: Surely He hath borne our griefs (Choir Coach)
- 22. Chorus: And with His stripes we are healed (Choir Coach)
- 23. Chorus: All we, like sheep (Choir Coach)
- 25. Chorus: He trusted in God that He would deliver Him (Choir Coach)
- 30. Chorus: Lift up your heads (Choir Coach, soprano 1)
- 30. Chorus: Lift up your heads (Choir Coach, soprano 2)
- Recitative (Tenore): Unto which of the angels, 31. Chorus: Let all the angels of God worship Him (Choir Coach)
- 33. Chorus: The Lord gave the word (Choir Coach)
- 35. Chorus: Their sound is gone out (Choir Coach)
- 37. Chorus: Let us break their bonds asunder (Choir Coach)
- Recitative (Tenore): He that dwelleth in heaven, 38. Air (Tenore): Thou shalt break them (Choir Coach)
- 41. Chorus: Since by man came death (Choir Coach)
- 45. Chorus: But thanks be to God (Choir Coach)
- 47. Chorus: Worthy is the Lamb that was slain, 48. Chorus: Amen (Choir Coach, soprano 1)
- 47. Chorus: Worthy is the Lamb that was slain, 48. Chorus: Amen (Choir Coach, soprano 2)
- 4. Chorus: And the glory of the Lord (Choir Coach, Slow mode)
- 6. Air (Alto): But who may abide (Choir Coach, Slow mode)
- Recitative (Alto): Behold, a virgin shall conceive, 8. Air (Alto) and Chorus: O thou that tellest good tidings to Zion (Choir Coach, Slow mode)
- 11. Chorus: For unto us a child is born (Choir Coach, Slow mode)
- 15. Chorus: Glory to God in the highest (Choir Coach, Slow mode)
- 18. Chorus: His yoke is easy (Choir Coach, Slow mode)
- 19. Chorus: Behold the Lamb of God (Choir Coach, Slow mode)
- 21. Chorus: Surely He hath borne our griefs (Choir Coach, Slow mode)
- 22. Chorus: And with His stripes we are healed (Choir Coach, Slow mode)
- 23. Chorus: All we, like sheep (Choir Coach, Slow mode)
- 25. Chorus: He trusted in God that He would deliver Him (Choir Coach, Slow mode)
- 30. Chorus: Lift up your heads (Choir Coach, Slow mode, soprano 1)
- 30. Chorus: Lift up your heads (Choir Coach, Slow mode, soprano 2)
- Recitative (Tenore): Unto which of the angels, 31. Chorus: Let all the angels of God worship Him (Choir Coach, Slow mode)
- 33. Chorus: The Lord gave the word (Choir Coach, Slow mode)
- 35. Chorus: Their sound is gone out (Choir Coach, Slow mode)
- 37. Chorus: Let us break their bonds asunder (Choir Coach, Slow mode)
- Recitative (Tenore): He that dwelleth in heaven, 38. Air (Tenore): Thou shalt break them (Choir Coach, Slow mode)
- 41. Chorus: Since by man came death (Choir Coach, Slow mode)
- 45. Chorus: But thanks be to God (Choir Coach, Slow mode)
- 47. Chorus: Worthy is the Lamb that was slain, 48. Chorus: Amen (Choir Coach, Slow mode, soprano 1)
- 47. Chorus: Worthy is the Lamb that was slain, 48. Chorus: Amen (Choir Coach, Slow mode, soprano 2)
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Aides à l'apprentissage voix alto
- 4. Chorus: And the glory of the Lord (Choir Coach)
- 6. Air (Alto): But who may abide (Choir Coach)
- Recitative (Alto): Behold, a virgin shall conceive, 8. Air (Alto) and Chorus: O thou that tellest good tidings to Zion (Choir Coach)
- 11. Chorus: For unto us a child is born (Choir Coach)
- 15. Chorus: Glory to God in the highest (Choir Coach)
- 18. Chorus: His yoke is easy (Choir Coach)
- 19. Chorus: Behold the Lamb of God (Choir Coach)
- 21. Chorus: Surely He hath borne our griefs (Choir Coach)
- 22. Chorus: And with His stripes we are healed (Choir Coach)
- 23. Chorus: All we, like sheep (Choir Coach)
- 25. Chorus: He trusted in God that He would deliver Him (Choir Coach)
- 30. Chorus: Lift up your heads (Choir Coach)
- Recitative (Tenore): Unto which of the angels, 31. Chorus: Let all the angels of God worship Him (Choir Coach)
- 33. Chorus: The Lord gave the word (Choir Coach)
- 35. Chorus: Their sound is gone out (Choir Coach)
- 37. Chorus: Let us break their bonds asunder (Choir Coach)
- Recitative (Tenore): He that dwelleth in heaven, 38. Air (Tenore): Thou shalt break them (Choir Coach)
- 41. Chorus: Since by man came death (Choir Coach)
- 45. Chorus: But thanks be to God (Choir Coach)
- 47. Chorus: Worthy is the Lamb that was slain, 48. Chorus: Amen (Choir Coach, Alto 1)
- 47. Chorus: Worthy is the Lamb that was slain, 48. Chorus: Amen (Choir Coach, Alto 2)
- 4. Chorus: And the glory of the Lord (Choir Coach, Slow mode)
- 6. Air (Alto): But who may abide (Choir Coach, Slow mode)
- Recitative (Alto): Behold, a virgin shall conceive, 8. Air (Alto) and Chorus: O thou that tellest good tidings to Zion (Choir Coach, Slow mode)
- 11. Chorus: For unto us a child is born (Choir Coach, Slow mode)
- 15. Chorus: Glory to God in the highest (Choir Coach, Slow mode)
- 18. Chorus: His yoke is easy (Choir Coach, Slow mode)
- 19. Chorus: Behold the Lamb of God (Choir Coach, Slow mode)
- 21. Chorus: Surely He hath borne our griefs (Choir Coach, Slow mode)
- 22. Chorus: And with His stripes we are healed (Choir Coach, Slow mode)
- 23. Chorus: All we, like sheep (Choir Coach, Slow mode)
- 25. Chorus: He trusted in God that He would deliver Him (Choir Coach, Slow mode)
- 30. Chorus: Lift up your heads (Choir Coach, Slow mode)
- Recitative (Tenore): Unto which of the angels, 31. Chorus: Let all the angels of God worship Him (Choir Coach, Slow mode)
- 33. Chorus: The Lord gave the word (Choir Coach, Slow mode)
- 35. Chorus: Their sound is gone out (Choir Coach, Slow mode)
- 37. Chorus: Let us break their bonds asunder (Choir Coach, Slow mode)
- Recitative (Tenore): He that dwelleth in heaven, 38. Air (Tenore): Thou shalt break them (Choir Coach, Slow mode)
- 41. Chorus: Since by man came death (Choir Coach, Slow mode)
- 45. Chorus: But thanks be to God (Choir Coach, Slow mode)
- 47. Chorus: Worthy is the Lamb that was slain, 48. Chorus: Amen (Choir Coach, Slow mode, Alto 1)
- 47. Chorus: Worthy is the Lamb that was slain, 48. Chorus: Amen (Choir Coach, Slow mode, Alto 2)
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Aides à l'apprentissage voix tenore
- 4. Chorus: And the glory of the Lord (Choir Coach)
- 6. Air (Alto): But who may abide (Choir Coach)
- Recitative (Alto): Behold, a virgin shall conceive, 8. Air (Alto) and Chorus: O thou that tellest good tidings to Zion (Choir Coach)
- 11. Chorus: For unto us a child is born (Choir Coach)
- 15. Chorus: Glory to God in the highest (Choir Coach)
- 18. Chorus: His yoke is easy (Choir Coach)
- 19. Chorus: Behold the Lamb of God (Choir Coach)
- 21. Chorus: Surely He hath borne our griefs (Choir Coach)
- 22. Chorus: And with His stripes we are healed (Choir Coach)
- 23. Chorus: All we, like sheep (Choir Coach)
- 25. Chorus: He trusted in God that He would deliver Him (Choir Coach)
- 30. Chorus: Lift up your heads (Choir Coach)
- Recitative (Tenore): Unto which of the angels, 31. Chorus: Let all the angels of God worship Him (Choir Coach)
- 33. Chorus: The Lord gave the word (Choir Coach)
- 35. Chorus: Their sound is gone out (Choir Coach)
- 37. Chorus: Let us break their bonds asunder (Choir Coach)
- Recitative (Tenore): He that dwelleth in heaven, 38. Air (Tenore): Thou shalt break them (Choir Coach)
- 41. Chorus: Since by man came death (Choir Coach)
- 45. Chorus: But thanks be to God (Choir Coach)
- 47. Chorus: Worthy is the Lamb that was slain, 48. Chorus: Amen (Choir Coach, Tenore 1)
- 47. Chorus: Worthy is the Lamb that was slain, 48. Chorus: Amen (Choir Coach, Tenore 2)
- 4. Chorus: And the glory of the Lord (Choir Coach, Slow mode)
- 6. Air (Alto): But who may abide (Choir Coach, Slow mode)
- Recitative (Alto): Behold, a virgin shall conceive, 8. Air (Alto) and Chorus: O thou that tellest good tidings to Zion (Choir Coach, Slow mode)
- 11. Chorus: For unto us a child is born (Choir Coach, Slow mode)
- 15. Chorus: Glory to God in the highest (Choir Coach, Slow mode)
- 18. Chorus: His yoke is easy (Choir Coach, Slow mode)
- 19. Chorus: Behold the Lamb of God (Choir Coach, Slow mode)
- 21. Chorus: Surely He hath borne our griefs (Choir Coach, Slow mode)
- 22. Chorus: And with His stripes we are healed (Choir Coach, Slow mode)
- 23. Chorus: All we, like sheep (Choir Coach, Slow mode)
- 25. Chorus: He trusted in God that He would deliver Him (Choir Coach, Slow mode)
- 30. Chorus: Lift up your heads (Choir Coach, Slow mode)
- Recitative (Tenore): Unto which of the angels, 31. Chorus: Let all the angels of God worship Him (Choir Coach, Slow mode)
- 33. Chorus: The Lord gave the word (Choir Coach, Slow mode)
- 35. Chorus: Their sound is gone out (Choir Coach, Slow mode)
- 37. Chorus: Let us break their bonds asunder (Choir Coach, Slow mode)
- Recitative (Tenore): He that dwelleth in heaven, 38. Air (Tenore): Thou shalt break them (Choir Coach, Slow mode)
- 41. Chorus: Since by man came death (Choir Coach, Slow mode)
- 45. Chorus: But thanks be to God (Choir Coach, Slow mode)
- 47. Chorus: Worthy is the Lamb that was slain, 48. Chorus: Amen (Choir Coach, Slow mode, Tenore 1)
- 47. Chorus: Worthy is the Lamb that was slain, 48. Chorus: Amen (Choir Coach, Slow mode, Tenore 2)
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Aides à l'apprentissage voix basse
- 4. Chorus: And the glory of the Lord (Choir Coach)
- 6. Air (Alto): But who may abide (Choir Coach)
- Recitative (Alto): Behold, a virgin shall conceive, 8. Air (Alto) and Chorus: O thou that tellest good tidings to Zion (Choir Coach)
- 11. Chorus: For unto us a child is born (Choir Coach)
- 15. Chorus: Glory to God in the highest (Choir Coach)
- 18. Chorus: His yoke is easy (Choir Coach)
- 19. Chorus: Behold the Lamb of God (Choir Coach)
- 21. Chorus: Surely He hath borne our griefs (Choir Coach)
- 22. Chorus: And with His stripes we are healed (Choir Coach)
- 23. Chorus: All we, like sheep (Choir Coach)
- 25. Chorus: He trusted in God that He would deliver Him (Choir Coach)
- 30. Chorus: Lift up your heads (Choir Coach)
- Recitative (Tenore): Unto which of the angels, 31. Chorus: Let all the angels of God worship Him (Choir Coach)
- 33. Chorus: The Lord gave the word (Choir Coach)
- 35. Chorus: Their sound is gone out (Choir Coach)
- 37. Chorus: Let us break their bonds asunder (Choir Coach)
- Recitative (Tenore): He that dwelleth in heaven, 38. Air (Tenore): Thou shalt break them (Choir Coach)
- 41. Chorus: Since by man came death (Choir Coach)
- 45. Chorus: But thanks be to God (Choir Coach)
- 47. Chorus: Worthy is the Lamb that was slain, 48. Chorus: Amen (Choir Coach, Basse 1)
- 47. Chorus: Worthy is the Lamb that was slain, 48. Chorus: Amen (Choir Coach, Basse 2)
- 4. Chorus: And the glory of the Lord (Choir Coach, Slow mode)
- 6. Air (Alto): But who may abide (Choir Coach, Slow mode)
- Recitative (Alto): Behold, a virgin shall conceive, 8. Air (Alto) and Chorus: O thou that tellest good tidings to Zion (Choir Coach, Slow mode)
- 11. Chorus: For unto us a child is born (Choir Coach, Slow mode)
- 15. Chorus: Glory to God in the highest (Choir Coach, Slow mode)
- 18. Chorus: His yoke is easy (Choir Coach, Slow mode)
- 19. Chorus: Behold the Lamb of God (Choir Coach, Slow mode)
- 21. Chorus: Surely He hath borne our griefs (Choir Coach, Slow mode)
- 22. Chorus: And with His stripes we are healed (Choir Coach, Slow mode)
- 23. Chorus: All we, like sheep (Choir Coach, Slow mode)
- 25. Chorus: He trusted in God that He would deliver Him (Choir Coach, Slow mode)
- 30. Chorus: Lift up your heads (Choir Coach, Slow mode)
- Recitative (Tenore): Unto which of the angels, 31. Chorus: Let all the angels of God worship Him (Choir Coach, Slow mode)
- 33. Chorus: The Lord gave the word (Choir Coach, Slow mode)
- 35. Chorus: Their sound is gone out (Choir Coach, Slow mode)
- 37. Chorus: Let us break their bonds asunder (Choir Coach, Slow mode)
- Recitative (Tenore): He that dwelleth in heaven, 38. Air (Tenore): Thou shalt break them (Choir Coach, Slow mode)
- 41. Chorus: Since by man came death (Choir Coach, Slow mode)
- 45. Chorus: But thanks be to God (Choir Coach, Slow mode)
- 47. Chorus: Worthy is the Lamb that was slain, 48. Chorus: Amen (Choir Coach, Slow mode, Basse 1)
- 47. Chorus: Worthy is the Lamb that was slain, 48. Chorus: Amen (Choir Coach, Slow mode, Basse 2)
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Compléments
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Texte numérique (sans notes), licence d'impression incluse, fichier html, paroles, traduction allemandefichier html, paroles, traduction allemande (Extrait)Erster Teil
1. Sinfonia
2. Accompagnato (Tenor) Tröstet, tröstet (ihr) mein Volk,
sagt eur Gott,
redet freundlich mit Jerusalem
und rufet ihr zu,
dass ihr Frondienst ein Ende hat,
dass ihre Missetat vergeben.
Vernehmt die Stimme des Rufers in der Wüste:
bereitet dem Herrn den Weg
und bahnt in der Steppe
den Weg unserm Gott.
Jes 40,1–33. Arie (Tenor) Alle Täler sollen sich heben,
und Berg und Hügel werden flach.
Was krumm ist, werde grad
machet ebene Bahn im Hügelland.
Jes 40,44. Chor
...
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Texte numérique (sans notes), licence d'impression incluse, fichier html, paroles, originalfichier html, paroles, original (Extrait)
Part the first
1. Sinfony
2. Accompagnato (Tenore) Comfort ye, comfort ye my people,
saith your God;
speak ye comfortably to Jerusalem,
and cry unto her,
that her warfare is accomplished,
that her iniquity is pardoned.
The voice of him that crieth in the wilderness,
prepare ye the way of the Lord,
make straight in the desert
a highway for our God.
Isa. 40:1–33. Air (Tenore) Ev’ry valley shall be exalted,
4. Chorus And the glory of the Lord shall be revealed,
and ev’ry mountain and hill made low,
the crooked straight
and the rough places plain.
Isa. 40:4
...
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Texte numérique (sans notes), licence d'impression incluse, fichier html, Texte introductif, françaisfichier html, Texte introductif, français (Extrait)Texte du livret du CD Carus 83.219
Magda Marx-Weber
Traduction: Sylvie CoquillatL’idée de la composition du Messie est initiée par Charles Jennens, le librettiste. Il écrit en juillet 1741 à un ami qu’il espère pouvoir inciter Haendel à composer un nouvel oratorio biblique (« to set another Scripture Collection I have made for him »). Le 22 août 1741, Haendel commence la composition qu’il achève dès le 14 septembre. Le vice-roi irlandais l’invite à donner plusieurs concerts pendant la saison d’hiver 1741/42 à Dublin. Il se rend à Dublin avec quelques chanteurs seulement, sans connaître les conditions du lieu. Dès la première représentation extrêmement réussie de l’œuvre, le 13 avril 1742, il doit adapter quelques airs aux capacités des chanteurs irlandais. Comme il entreprend des modifications de ce genre pour des représentations ultérieures aussi, toute une série d’arias a été conservée dans plusieurs versions.
...
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Texte numérique (sans notes), licence d'impression incluse, fichier html, Texte introductif, en anglaisfichier html, Texte introductif, en anglais (Extrait)Text from the CD Carus 83.219
Magda Marx-Weber
Translation: Elizabeth RobinsonThe stimulus for the composition of Messiah came from the librettist Charles Jennens. He wrote in July 1741 to a friend, that he hoped to be able to persuade Handel to compose a new biblical oratorio (“to set another Scripture Collection I have made for him”). Handel began work on the composition on 22 August 1741 and completed it on 14 September. He had received an invitation from the Irish viceroy to give several concerts in the 1741–42 winter season in Dublin. He travelled to Dublin with just a few of his own singers, without prior knowledge of the conditions there. Meanwhile, for the extremely successful first performance of the work on 13 April 1742, he had to adapt some of the arias to suit the abilities of the Irish singers. Since he also made alterations of this kind for later performances, a series of arias survive in several versions.
...
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Texte numérique (sans notes), licence d'impression incluse, fichier html, Texte introductif, en allemandfichier html, Texte introductif, en allemand (Extrait)Booklet-Text der CD Carus 83.219
Magda Marx-Weber
Die Anregung zur Komposition des Messiah ging von dem Librettisten Charles Jennens aus. Dieser schrieb im Juli 1741 an einen Freund, er hoffe Händel dazu bewegen zu können, ein neues biblisches Oratorium zu komponieren („to set another Scripture Collection I have made for him“). Am 22. August 1741 begann Händel mit der Komposition, die er bereits am 14. September abschloss. Er hatte eine Einladung des irischen Vizekönigs erhalten, in der Wintersaison 1741/42 in Dublin mehrere Konzerte zu geben. Mit nur wenigen eigenen Sängern reiste er nach Dublin, ohne die dortigen Bedingungen zu kennen. Schon für die überaus erfolgreiche Erstaufführung des Werks am 13. April 1742 musste er einige Arien den Fähigkeiten der irischen Sänger anpassen. Da er derartige Veränderungen auch für spätere Aufführungen vornahm, sind eine Reihe von Arien in mehreren Fassungen überliefert.
...
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Informations complémentaires sur l'œuvre
Sommaire
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Compositeur
Georg Friedrich Händel
| 1685-1759Georg Friedrich Händel a démontré très tôt ses capacités de composition universelle exceptionnelles. Après s'être installé à Londres en 1712, il y créa - nommé Composer of Musick for His Majesty's Chapel Royal en 1723 - de nombreux chefs-d'œuvre pour la cour royale ainsi que ses grandes séries d'opéras : pendant des années, il connut des succès triomphants avec des opéras chantés par des interprètes d'exception ou avec des sérénades, plus tard aussi avec des oratorios comme "Saul" ou "Israel in Egypt". Au fil des années, la renommée de Haendel s'est étendue bien au-delà de son lieu de travail ; certaines de ses œuvres chorales, notamment le "Messiah", disposent d'une tradition d'exécution qui ne s'est jamais démentie et sont chantées par des chœurs du monde entier. Plus d'information sur la personne
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Parolier/Librettiste
Charles Jennens
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L'auteur de l'avant-propos
Magda Marx-Weber
| 1941-2017
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Traducteur
Magda Marx-Weber
| 1941-2017
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Chœur
Kammerchor Stuttgart
The Kammerchor Stuttgart is regarded as one of the best ensembles of its kind. Over its fifty-year existence, Frieder Bernius has developed the choir into an exceptional ensemble acclaimed by audiences and press alike. This has led to invitations for the choir to perform at all the important European festivals. In Germany the chamber choir performs at festivals and in concert halls in repertoire ranging from the 17th to the 21st century. Frieder Bernius and his ensemble have received numerous accolades for their contribution to new music. The Kammerchor Stuttgart has made over 80 CDs and LPs, numerous of which have been awarded international recording prizes (including the Edison award, Diapason d’or, Gramophone Choice, Classical Internet Award, International Classical Music Award, and German Record Critics’ Award prizes). The International Federation for Choral Music has invited the ensemble to sing at the 1st, 4th and 10th World Symposia on Choral Music in Vienna, Sydney and Seoul. Regular tours of North America and Asia since 1988 and a South America tour reflect the Kammerchor Stuttgart’s international reputation. Since 1984 the top ensemble has also been invited to Israel biennially. Plus d'information sur la personne
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Orchestre
Barockorchester Stuttgart
The Barockorchester Stuttgart, which was founded by Bernius in 1985, specializes in 18th century music. The musicians are among the leading representatives of historical performance practice and perform exclusively on original instruments. The ensemble dedicates itself to a large extent to the revival of 18th century operas. It has performed at numerous international festivals, among others in Rome, Dresden and Göttingen. Plus d'information sur la personne
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Chef d'orchestre
Frieder Bernius
| 1947Frieder Bernius’s work has earned great worldwide recognition. He is in demand internationally as a conductor and as a teacher. His principal artistic collaborators are the ensembles he founded himself, the Kammerchor Stuttgart, the Barockorchester Stuttgart, the Hofkapelle Stuttgart and the Klassische Philharmonie Stuttgart. As a guest conductor, he has collaborated repeatedly with, for example, the SWR Vokalensemble Stuttgart, the Deutsche Kammerphilharmonie Bremen, the Stuttgarter Kammerorchester and the Streicherakademie Bozen. Great stylistic versatility is Frieder Bernius’s hallmark. Whether he conducts vocal works by Monteverdi, Bach, Händel, Mozart, Beethoven, Fauré and Ligeti, stage music by Mendelssohn or symphonies by Haydn, Burgmüller and Schubert, his work always aims for a sound that is at once unmistakably personal and at the same time oriented towards the original period sound ideal. He devotes himself equally to the rediscovery of 18th century operas and to first performances of contemporary compositions. He is particularly interested in the musical history of southwestern Germany. Carus-Verlag has awarded Frieder Bernius a Golden CD for his complete recording of the sacred music of Felix Mendelssohn Bartholdy. The award was presented to him during the German Choir Festival in Stuttgart 2016. The sale of over 250,000 recordings, which has been acclaimed with a number of awards, has made a not insignificant contribution to what today is the obvious presence of Mendelssohn's complete œuvre in the concert repertoire. Plus d'information sur la personne
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Solist - soprano
Carolyn Sampson
Equally at home on the concert and opera stages, Carolyn Sampson has enjoyed notable successes all over the world. In addition to engagements with, among others, the English National Opera, the Glyndebourne Festival, the Boston Early Music Festival, the Opéra de Paris, the Opéra de Lille, the Opéra de Montpellier as well as the Opéra National du Rhin, she has sung concerts, among others at the BBC Proms. In Europe her many appearances have included concerts with the Royal Concertgebouw Orchestra, The English Concert, Freiburg Baroque Orchestra, Symphony Orchestra of the Bayerischer Rundfunk, WDR Symphony Orchestra, Vienna Philharmonic, Orchestra dell’Accademia Nazionale di Santa Cecilia, and the Leipzig Gewandhaus Orchestra. In the US Carolyn Sampson has featured as soloist with San Francisco Symphony, Detroit Symphony Orchestra, St Paul Chamber Orchestra and Philadelphia Orchestra. Her many recordings include a highly-acclaimed CD of Stravinsky’s Les Noces and Mass. Her recording of Purcell songs was selected as Editor’s Choice in the December 2007 issue of Gramophone Magazine, as was her first recital CD, Fleurs, in May 2015. Plus d'information sur la personne
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Solist - alto
Daniel Taylor
Daniel Taylor is one of the most sought-after countertenors worldwide. He performs with numerous international ensembles and symphony orchestras. As a recitalist, he has performed in the Konzerthaus Vienna, at the Frick Collection New York, in the Forbidden Concert Hall Beijing, Lufthansa Baroque Festival and Wigmore Hall London. He appeared in Jeremy Podeswa’s prize-winning film Five Senses. As an opera singer he has performed at Glyndebourne (Handel’s Theodora), the Metropolitan Opera New York (Handel’s Giulio Cesare), the Bavarian State Opera (Handel’s Rinaldo), Edinburgh (Gluck’s Orfeo), Welsh National Opera (Handel’s Jephtha) and the Canadian Opera (Handel’s Tolomeo). Daniel Taylor studied literature, music and philosophy before studying completing his exams in music and religious studies at the University of Montreal. Daniel Taylor is a professor at the Conservatoire de musi que in Montreal. Plus d'information sur la personne
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Solist - ténor
Benjamin Hulett
Tenor Benjamin Hulett graduated from New College, Oxford. He was a principal singer with the Hamburgische Staatsoper, where his roles included Oronte (Alcina), Jaquino (Fidelio), Arbace (Idomeneo), Tamino (Die Zauberflöte) and Ferrando (Così fan tutte). He made his debuts with the Bavarian State Opera as Oronte, the Theater an der Wien in Johannes Kalitzke’s Die Besessenen, the Salzburg Festival in Elektra, the Baden-Baden Festival in Salome and the Deutsche Staatsoper in Henze’s Phaedra. He sang Arbace with Europa Galante and Biondi, made a return to Hamburg as a guest artist for Tamino and Narraboth (Salome), and sang his first Peter Quint (Turn of the Screw) for Opera North. Recent appearances include Das Paradies und die Peri at the Edinburgh Festival with Norrington, Missa Solemnis with Herreweghe, Serenade for Tenor, Horn and Strings with Hogwood, Creation with Haim, the Bruckner Requiem with Zehetmair, his first Fenton (Falstaff) for Opera Holland Park, the title role in J. C. Bach’s Lucio Silla with Bolton at the Salzburg Mozartwoche, and Tamino in concert with the Berlin Philharmonic Orchestra and Rattle. He makes his debut for the Royal Opera House, Covent Garden, as Edmondo in Manon Lescaut. Plus d'information sur la personne
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Solist - basse
Peter Harvey
Peter Harvey’s hundred or so recordings span eight centuries of music, with the High Baroque particularly well represented. He has performed and recorded all of J. S. Bach’s major vocal works and many of the cantatas. From the French Baroque, he has made many recordings of Campra, Lully, Lalande and others, including a recent solo disc with London Baroque of Rameau’s secular cantatas for bass voice. The Gabrieli Consort’s recording of Haydn’s Creation, on which Peter sings Adam, won the 2008 Gramophone Award. Peter directs the Magdalena Consort, specializing in the performance of the music of Bach with small ensembles. He is increasingly returning to the Lied repertoire, and has recently recorded Schubert’s Die Winterreise with pianist Gary Cooper. Plus d'information sur la personne
Critiques
[...] Bernius hat mit Bedacht vier englische Solisten ausgewählt und sie sind alle vier hervorragend: Sampson, Taylor, Hulet und Harvey. Hervorragend ist auch der Chor. Das Klangbild hat Bernius an den historischen Instrumenten orientiert, an ihrem hellen obertonreichen Klang. [...]
NDR Info / CD-Tipp der Woche, 18.4.09
[...] Das Ergebnis ist eine angenehm-natürlich fließende, ausgereifte Interpretation ohne aufgesetzte Effekte. Frieder Bernius dirigiert mit großem Feingefühl, klar akzentuiert und stets an der Aussage des Textes orientiert. Selbst das berühmte "Hallelujah" am Ende des zweiten Teils bezieht seine Strahlkraft nicht aus aufgedonnertem Forcieren, sondern aus der Klarheit der musikalischen Linien.
Jürgen Seeger
Bayern 4 Klassik, Leporello, 25.04.2009
[...] an dieser neu vorgelegten Version von Frieder Bernius muss ab jetzt alles gemessen werden. Mit dem hervorragenden, hell tönenden Stuttgarter Kammerchor und dem historisch instrumentierten Stuttgarter Barockorchester atmet dieser "Messias" Lebendigkeit und neue Energie. Dazu kommen vier ausgezeichnete englische Solisten, allen voran die derzeit vielleicht beste Händel-Sopranistin Carolyn Sampson. Ein Muss im Händel-Jahr, und auch für verwöhnte Ohren ein Zugewinn.
MDR Figaro, Take 5, 27.04.2009
[...] Wieder garantieren der Kammerchor Stuttgart und das Barockorchester Stuttgart unter Frieder Bernius für eine spannende und kompetente Interpretation dieser „Mutter aller Oratorien”.
Singende Kirche, 03/09
[...] Frieder Bernius gelingt [...] eine beglückende Aufnahme des Messiah. [...] Wunderbar, wie der Tenor Benjamin Hulett im ersten Accompagnato „Comfort ye” die Töne ansetzt und in einer phantastischen ballistischen Kurve aufblühen lässt. [...] Bernius' Interpretation prahlt nicht mit manierierten Effekten, sondern besticht durch einen am Text orientierten, schlackenfreien Zugang.
Martin Hoffmann
Concerto, August/September, 2009
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