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Bach - Mass in B Minor / Biller, GewandhausorchestraRating:
Release Date: 11 December, 2001 Retail Price: $24.99 OUR Price: $22.99 You SAVE: $2.00! Cast: |
Bach - Mass in B Minor / Biller, Gewandhausorchestra Reviews
Bach for the Ages
Under any circumstances, there is a fine performance of the Mass in B Minor on this DVD. But, it is the visual aspect, coupled with the surround sound, which catapult this version into the upper echelon of Bach performances.
Remarkably, one never tires of the camerawork and direction. It wears so well. The visual counterpoint among choir, solists, conductor, orchestra and Thomaskirche is deftly handled. Nothing is under- or over-emphasized. Cuts from conductor to choir to orchestra, for example, seem perfectly natural within the context of the music. And, indeed, it is the concluding visual during the final "pacem", with the camera coming to rest on Bach's flower-bedecked grave in the floor of the Thomaskirche, which ultimately magnifies all that has gone before. The perfect exclamation point to the Mass in B Minor.
This is by no means a "Das alte Werk" rendition. The choir appears to be double the size of "alte Werk" recordings. The orchestra plays modern instruments. An adult female soprano sings in the 3 duets. But as one "alte Werk" recording concedes, small scale, original instrument performances succeed more often in recordings than in live concert.
The Leipzig Gewandhaus Orchestra's reputation as a major international ensemble has never been more deserved. The virtuosity of their musicians is particularly showcased during various vocal solos and duets. What lovely accompaniment they provide. During the great choruses, the trumpets are most definitely "there", lifting the band into a marvelous full bodied sound.
Klaus Mertens is "the" voice among the solists. Both his solos are impeccably sung. His "Quonium" followed by the seamless segue into the spectacular chorus "Cum Sancto Spiritu" to end the "Gloria" is a highlight among highlights.
I'd have loved to have heard more from Ruth Holten who sings only in the 3 duets. It makes the performance seem to have a slightly top heavy leaning towards counter-tenor Matthias Rexroth (3 solos, 2 duets). He certainly sings well enough, but compared to his other solos I come away feeling that he wasn't completely comfortable with the "Laudemus te". Perhaps I'd have liked to have heard Ms. Holton have a shot at this. Christoph Genz, a Thomanerchor alumnus--and the only one in the church wearing a tuxedo--sings the "Benedictus" with uncommon clarity and feeling.
Thomascantor Georg Christoph Biller appears to have a riveting personality which is constantly exuded as he conducts. The look he gets on his face as he prepares to launch orchestra and choir into the big choruses (especially the "Sanctus") could perhaps be described as devilish. Few, if any, of the conductors with far more well-known names, appear to so openly enjoy their work as much as Biller. It's easy to understand why his choir responds with such enthusiastiasm.
And, if there's a star to be singled out in this performance, it's the Thomanerchor--though certainly, by extension, Biller, himself. Clearly, this choir takes its music seriously. They want to sing. One can sense a certain restlessness during the solos. But, the Thomaners also have the discipline to sing the "Qui tollis peccata mundi" (Gloria) and the "Et incarnatus est"/"Crucifixus" (Symbolum) with deep introspection. Nonetheless, on the big choruses, they produce a triumphant sound which when coupled with the Thomaskirche acoustics is spectacularly unique.
There are also details of the production beyond the music that attest to the live performance, but which are ultimately endearing. Though, I don't think he's heard (I still have my ears open, however), one Thomaner is caught mid-coughing spell. A few of the younger kids appear wide-eyed at times. One of the older singers beats out the time in a vaguely Paul Anka-ish manner. The soloists are seen frantically looking for something that has dropped between their chairs during the "Gratias". The violinist sitting by the horn player has her finger in her ear (understandably) for the entire "Quonium". But, none of this matters. If anything, they only add.
At the conclusion, with the reverent view of Bach's grave (it's only shown at the very beginning and very end), there is a silence that is usually reserved for the end of Ring cycles. But, when the gratitude commences, it is not with operatic bravos. It is solely applause, long and sustained. And at that moment, we get to share the unique relationship between Leipzig, the Thomaskirche, the cantor, the choir, the orchestra--and Johann Sebastian Bach.
And for that reason, this is a Bach performance like no other.
A great performance
If you love Bach you will love this performance. Visually excellent, with some echo but not disruptive. Listen to the bass Klaus Mertons, he is just the best there is. If Bach can hear him he is happy too. The cantor, the choir, the orchestra were all outstanding. By the time the performance was over my heart was pounding with excitement.
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