Virgin Classics has recently issued a new disc featuring Ian Bostridge
singing Bach arias; Fabio Biondi directs Europa Galante, a period
instrument orchestra. The catalog number is 45420.
The program is somewhat varied: two complete Cantatas, three Sinfonias,
and five arias from five Bach sacred choral works. The specifics are:
Cantatas BWV 82a & 55.
Sinfonias from BWV 4, 18, & 212.
Arias from BWV 7, 43, 139, 198, & 249(Easter Oratorio).
The disc is clearly a "star vehicle" for Mr. Bostridge. Only his
photograph is on the cover, and his name is in larger lettering than Fabio
Biondi. This takes me back a few months to a previous release of Bach
arias from Goerne on Decca. However, the only music common to both discs
is BWV 82a (almost).
I'll start with the Sinfonias to hear how well Biondi and Europa Galante do
on their own. The Sinfonia from BWV 4 is short, slow, and highly dramatic.
My favorite rendition comes from Andrew Parrott on a Virgin disc; his
strings are outstanding sharp and projected strongly. Karl Richter on
Archiv and Suzuki on BIS are very good alternatives; Richter clocks in at
a little over 1 1/2 mintues. I was surprised to find Biondi taking almost
2 minutes, but slow is fine. What isn't so good is that the lead violin
has anemic moments which lessen the music's impact. Leaving that aside,
this version would be at Richter's and Suzuki's level.
Biondi is also very slow in the Sinfonia from BWV 18 which is haunting
music with the violins weaving their spell. Suzuki's quicker version is
an excellent one with an irresistable bounce; Biondi is more devotional in
character. Although I prefer Suzuki, Biondi certainly captures the essence
of the music.
The Sinfonia from the Peasant Cantata (BWV 212) is Biondi's time to shine.
The music is an unusual mix of vigorous and joyful dance music interspersed
with slow and serious drone-like music. Previously, Harnoncourt(Teldec
1990)was my favorite performance for its vitality and rugged exuberance in
the dance. Biondi provides the dance music just as well. In addition, his
version has long length because he gives us a very slow and dynamic drone
which is mesmerizing and takes on a life of its own. This is magical
music-making. Overall, the Sinfonias fare very well in Biondi's hands.
Slow tempos are prevalent and Biondi's fantastic BWV 212 Sinfonia must be
heard.
BWV 82a is the first revised version of BWV 80. Originally written
for bass and oboe, BWV 82a replaces them with soprano and flute and
also transposes the music up a major third. This is the case with Nancy
Argenta/Monica Huggett on a Virgin recording. For comparison, I also used
the recent Matthias Goerne/Roger Norrington recording of BWV 80 from Decca.
My first observation is that the revision is just as fine as the original.
Second, to say that Ian Bostridge has a full, wonderful, and highly
expressive voice would likely be doing the man a disservice. His voice is
pure as daybreak and crystal-clear. This does present a little problem in
the first of the three arias where the aged person is absolutely drained
from existing in this world and desperately desires entering heaven.
Bostridge does not make the transition; his voice bespeaks an awakening;
there is no weariness to any degree. But in the second aria his voice
needs to evoke a want for slumber, and Bostridge successfully conveys it.
I don't feel that he perfectly interprets this cantata, but that voice is
something to behold. My third observation is that Biondi is splendid,
providing deeper and more animated performances than either Huggett or
Norrington who is particularly demure and subservient to Goerne. Fourth,
Nancy Argenta doesn't come close to having the vocal equipment possessed by
Goerne or Bostridge. However, she is great in the first aria, displaying
a thorough weariness of living. Overall, the Bostridge version is
outstanding except for the less than perfect match of voice and intent in
the first aria.
BWV 55 gives us a "wretched" man filled with sin in the opening aria
who trembles at the thought of being judged by God. But as the work
progresses, he realizes that his redemption has been made possible
by Christ's death and resurrection. The sequence of the cantata is
aria-recitative-aria-recitative-chorus. The opening aria sets the stage
for contrast, the second recitative opens us up to redemption, and the
chorus evokes a deep belief and satisfaction in the death to redemption
cycle; the ending is 'out of this world'. As with the first aria in BWV
82a, Bostridge does not match up with the miserable and sin plagued
individual portrayed. On Koch, Jeffrey Thomas, who can't compete with
Bostridge on voice alone, delivers the misery inherent in human existence.
Bostridge is outstanding in the second recitative, fully providing the hope
of redemption. Biondi is excellent throughout except for the chorus; his
small vocal forces (one-voice-per-part) don't come close to conveying the
sublime joy in the music, particularly at the conclusion. Thomas' chorus
is rich and deep. The combination of Bostridge's interpretation of the
opening aria and Biondi's thin sound in the chorus makes this version much
less desireable than their BWV 82a.
Now to the arias from five other cantatas. "Ja tausend mal tausend" from
BWV 43 is celebratory music of great swagger and bounce. For comparison,
I used two heavyweights: Anthony Rolfe Johnson/Gardiner on Archiv and
Christoph Pregardien/Herreweghe on Harmonia Mundi. Bostridge bests them
both; he is full of life and celebration. His voice soars, and Biondi is
as exuberant as I could wish.
Bostridge and Biondi are excellent in "Der Ewigkeit saphirnes Haus"
from BWV 198 and "Sanfte soll mein Todeskummer from The Easter Oratorio.
Bostridge has no problem fully conveying the intent of each aria and rivals
favorite versions from Paul Agnew/Koopman for BWV 198 and James
Taylor/Herreweghe for the Easter Oratorio.
I have some reservations about the remaining two arias: Des Vaters Stimme
(BWV 7) and Gott ist mein Freund (BWV 139). It's nothing to do with the
performances which are great, but I just don't feel that the two pieces are
quite top-drawer Bach.
Don's Conclusion: A generally excellent recording highlighted by one of
the finest pure voices I've ever heard and some outstanding direction from
Biondi. I do have three reservations which make the acquisition of this
disc less than essential. First, Bostridge does not convey misery or
weariness very well; that impacts two wonderful arias. Second, Biondi's
chorus in BWV 82a is very weak, bordering on innocuous. Third, I would
have preferred more inspired arias than the ones from BWV 7 & 139. I do
feel that the disc is sure to please most listeners, and the voice of
Bostridge is very compelling. As I said before, this is a star vehicle for
an outstanding singer and succeeds very well on those terms.
Don Satz
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