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RECORDINGS |
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| LABEL: |
BMG CLASSICS |
| CATALOG NUMBER: |
GD 69088 |
| UPC NUMBER: |
UNKNOWN |
| NUMBER OF DISCS: |
2 |
| RUNNING TIME: |
UNKNOWN |
| YEAR RECORDED: |
1961 |
| CD RELEASE DATE: |
APRIL 2, 1990 |
| CONDUCTOR: |
KARL FORSTER |
| ORCHESTRA: |
DIE BERLINER SYMPHONIKER |
| CHOIR: |
CHOR DER ST. HEDWIGS-KATHEDRALE BERLIN |
| SOPRANO: |
INGRID BJONER |
| ALTO: |
HERTHA TÖPPER |
| TENOR: |
JOSEF TRAXEL |
| BASS: |
KEITH ENGEN |
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| AUDIO SAMPLES |
HIGHLIGHTS |
OTHER RELEASES |
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DISC ONE
1. Ouvertüre
2. Arioso Tenor: Tröste Dich, mein Volk (1. Teil)
3. Arie Tenor: Alle Tale macht hoch erhaben
4. Chor: Denn die Herrlichkeit Gottes
5. So spricht der Herr (Rezitativ)
6. Doch wer wird ertragen den Tag seiner Ankunft (Arie)
7. Denn sieh, der Verheißene des Herrn erscheint (Rezitativ)
8. O Du, die Wonne verkündet in Zion (Arie)
9. Chor: O du die Wonne verkündet in Zion
10. Denn blick auf, Finsternis (Rezitativ)
11. Das Volk, das da wandelt (Arie)
12. Chor: Denn es ist uns ein Kind geboren
13. Orchester: Pifa (Pastorale)
14. Rezitativ Sopran: Es waren Hirten beisammen
15. Chor: Ehre sei Gott in der Höhe
16. Arie Sopran: Erwache, frohlocke, o Tochter in Zion
17. Dann wird das Auge des Blinden (Rezitativ)
18. Duettt Sopran, Alt: Er weidet seine Herde
19. Chor: Sein Joch ist sanft
20. Chor: Seht an das Gottelamm (2. Teil)
21. Er ward verschmähet und verachtet (Arie)
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DISC TWO
1. Chor: Wahrlich, er trug unsere Qual
2. Chor: Durch seine Wunden sind wir geheilt
3. Rezitativ Tenor: Und alle, die ihn sehen
4. Chor: Er trauete Gott
5. Rezitativ Tenor: Diese Schmach brach ihm sein Herz
6. Arioso Tenor: Schau hin und sieh
7. Rezitativ Tenor: Er ist dahin aus dem Lande des Lebens
8. Arie Tenor: Doch Du liessest ihn im Grabe nicht
9. Chor: Hoch tut Euch auf
10. Rezitativ Tenor: Zu welchen von den Engeln
11. Chor: Lasst alle Engel des Herrn preisen ihn
12. Du fuhrest in die Höh' (Arie)
13. Chor: Der Herr gab das Wort
14. Arie Sopran: Wie lieblich ist der Boten Schritt
15. Chor: Ihr Schall gehet aus in jedes Land
16. Arie Bass: Warum denn rasen und toben
17. Chor: Auf, zerreisset ihre Bande
18. Rezitativ Tenor: Der da thronet im Himmel
19. Arie Tenor: Du zerschlägst sie
20. Chor: Hallegujah!
21. Arie Sopran: Ich weiss, das mein Erlöser lebet (3. Teil)
22. Chor: Wie durch einen der Tod
23. Vernehmt, ich künd' ein Geheimnis an (Rezitativ)
24. Arie Bass: Sie schallt, die Posaun'
25. Dann wird erfüllt, was da geschrieben stehet (Rezitativ)
26. Duett Alt, Tenor: O Tod, wo ist dein Stachel
27. Chor: Drum Dank sei dir, Gott
28. Arie Sopran: Wenn Gott für uns ist
29. Chor: Würdig ist das Lamm
30. Chor: Amen
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SITE RATING: 7/10
SITE REVIEW:
Karl Forster's 1961 Der Messias
is a richly produced, handsomely mounted production, with lush playing
provided by the Berlin Symphony Orchestra, and the Choir of St.
Hedwigs-Kathedrale Berlin providing sturdy support. The natural
acoustics (there are no notes as to where this was recorded) help
tremendously in the blend, and the soloists and combined forces sound
very large and impressive, indeed. The soloists are weighty:
tenor Josef Traxel and bass Kieth Engen both giving tremendous power to
their moments, with Engen especially operatic and commanding.
Soprano Ingrid Bjoner has a wonderful cheery tone, lightening the
mood considerably with her presence, and alto Hertha Topper giving a
rich, dramatic performance - "acting" the part as if she were in a
Verdi opera. In fact Forster attacks the oratorio exactly as if
it were an opera, which, considering Handel's credentials, is a valid
approach; Forster brings out a multitude of dramatic colors, and milks
each moment for all its worth. But this is Handel, not Verdi, and
the thick, operatic flavor here is a bit too pronounced - the tempos
are very slow indeed, and the entire performance has a heaviness and
gravitas that's strips many moments of their joyfulness - "O Thou That
Tellest Good Tidings to Zion" for example, lumbers along at a snail's
pace, feeling blocked and square rather than jubilant. This
recording is perhaps most directly comparable to Georg Solti's 1985 Messiah
in its sensibilities, but Solti's reading is so much more accessible,
so much warmer that, although it too features operatic players, it's
much preferable to this recording. To sum up, while this is
obviously a first-class collection of artists, and the recorded sound
itself stands up well against others of its era, its slow, heavy tempos
undercut the finer, burnished qualities of the artists. Worth
seeking out if you enjoy the slower-is-better operatic approach.
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