español | français Medieval Renaissance Baroque Clasicism Opera  5 STARS All periods MEDIEVAL RENAISSANCE BAROQUE CLASICISM OPERA DIALOGUE CANTATAS JOHANN SEBASTIAN BACH Rainer Kussmaul Berliner Barock Solisten Thomas Quasthoff, Dorothea Röschmann Deutsche Grammophon 477 6591 2007 - 61:02 min. Bach composed a number of cantatas that represent allegorical dialogues between Jesus (bass) and the Soul (soprano). They nearly all draw on the symbolism of Christ as a bridegroom and the Soul as his bride, a conceit that goes back to the Song of Songs; but few do so as explicitly as BWV 49, first performed in Leipzig in November 1726 and surely one of Bach’s most sensuous cantatas. It begins with an exuberant, organ-led sinfonia, positively glows with hallowed eroticism in the soprano’s exultant “Ich bin herrlich”, and climaxes with an ecstatic duet, in which the celebratory bass aria, embellished by obbligato organ, is lovingly entwined with the soprano’s swooning chorale. Blissful union indeed! The disc’s other cantatas are less directly amatory. BWV 152, a Weimar cantata from 1714, employs a delicate blend of timbres (recorder, oboe, viola d’amore, viola da gamba and continuo) to accompany an intimate dialogue on faith as the cornerstone of salvation; while BWV 57, a 1725 Leipzig cantata, reflects on the perils of temptation before the second bass aria, lifted by gleefully scurrying strings, promises redemption. Thomas Quasthoff’s previous Bach recording with the exhilarating Berliner Barock Solisten won a Grammy, and this one may be even better. The addition of Dorothea Röschmann is a definite bonus: her rich, mezzo-like soprano is the perfect complement to Quasthoff’s lyrical yet authoritative bass-baritone, and together they sing with a warmth and a sense of enjoyment that raises this glorious music to new levels of exaltation. GRAHAM LOCK ABOUT US | CONTRIBUTE   web map - home page - cover Legal warning Copyright 2003, Goldberg. info@goldberg-magazine.com