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Bach: Weihnachtsoratorium - Fasolis

Bach: Weihnachtsoratorium - Fasolis

Arts Music  47714-8 (2 discs)

Stereo/Multichannel Hybrid

Classical - Vocal


Bach: Christmas Oratorio BWV 248

Lynn Dawson
Bernhard Landauer
Charles Daniels
Klaus Mertens
Coro della Radio Svizzera
I Barocchisti
Diego Fasolis (conductor)

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Review by John Broggio - December 21, 2009

Coming to this set after Bach: Brandenburg Concertos 1-4 - Fasolis and Bach: Brandenburg Concertos 5-6, Triple Concerto - Fasolis I was hoping for a real treat, sadly I came away disappointed even though there are some good things about this issue.

The main attraction of the issue is the drive and liveliness that Diego Fasolis imparts in the allegros. There are slower movements that are taken far faster than Bach: Weihnachtsoratorium - van Veldhoven that imparts a sense of dancing to the music and gives a refreshing take on a familiar work. The orchestral playing is also very vibrant and detailed (although in movements that have been "pushed on" they do not have the time afforded in the accounts of slower rivals to embellish the line) although some might feel it approachs gruffness from time to time. The choral singing is uniformly excellent and the Coro della Radio Svizzera impart a clarity not usually heard from such a number of performers.

However, in comparison to those on the Channel Classics release, the soloists Fasolis has at his disposal are of a lesser stature. Lynne Dawson's soprano in particular sounds like her best years have already happened and Klaus Mertens' bass is really rather barking and gruff in tone. Charles Daniels' tenor/Evangelist is altogether more succesful and only narrowly fails to stand comparison with Gerd Turk's take on the role for Channel Classics. Bernhard Landauer's alto is no match for Annette Markert who is far richer at the same time as possessing a radiant tone.

Many will have reservations with the recording as well. Even though it was recorded in a studio/hall of Suisse (Italian) Radio, it is so resonant in the lower frequencies that one could mistake it for a poor (accoustically speaking) cathedral. This lends the continuo playing an unwelcome heaviness, which quickly becomes tiring to the ears. The closeness of the recording is also unappealing, especially when some singers are not in the finest of form.

Given the competition available, this is not recommendable.

Copyright © 2009 John Broggio and HRAudio.net

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