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This
album is now available at mid-price in the Harmonia Mundi
Bach Edition (HMX 2901544.45).
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This
comparative article came about as a spin-off of the reviews of Koopman's
Complete Bach Cantatas Volume 4 and
Volume 5. These colourful secular cantatas
have been so brilliantly performed by these two seasoned and lively
Bach conductors that I felt compelled to make a serious comparison
of their recordings.
Cantata
BWV 201 features a singing "Contest between Phoebus and Pan",
the libretto based on the same legend between Apollo (left) and
Marsyas. Each singer designates his own judge, and the confusing
libretto does not so much celebrate the winner (Phoebus-Apollo),
but chastises Pan's judge, Midas, for lack of good judgment. Apparently
the characters refer to contemporary (now unknown) figures.
Both
are superb performances, but for different reasons. Jacobs' reading
is much more dramatic in character, with greater colour and contrast.
In the opening chorus for example, although Koopman's fine Amsterdam
Baroque deliver a fine performance, Jacobs' group goes one up on
them by adding more "kick". The result is much more effective in
protraying the "whirling winds". The trumpets of the Akademie have
a "squeezed" tone which adds a tremendous punch.
Vocalist-wise,
both directors have fine casts. Jacobs' stars treat the music with
more operatic flair, making Koopman's soloists sound relatively
formal (but that has its merits). The Argentinian soprano Maria
Cristina Kiehr (see also Caldara's
Maddalena) is a prime example here, playing the role
of Momus. Caroline Stam for Koopman is sweeter of voice but less
dramatic.
In
the big 9-minute aria by Phoebus, Koopman's orchestra wins with
their musically sensuous playing, more perfumed in tone than the
Akademie. Both soloists (the basses) are quite equally matched.
I am unimpressed by Peter Lika (Jacobs) in Pan's aria "Zu Tanze,
zu Sprunge" ("To the dance and to frolics") as his words disappear
under his voice. Jacobs' interpretation accentuates the rhythm,
while Koopman produces a cleaner and smoother musical line. Both
are lively accounts, but Koopman's is more spritely and much sweeter
on the ear. For me, Donald Bentvelsen's Pan (for Koopman) wins musically,
though Lika laughs with more gusto.
The
tenors are fairly matched. James Taylor on the Jacobs set sounds
a little out of place with his rather un-Germanic voice, but this
is just a tiny quibble. Jacobs employs the superb countertenor Andreas
Scholl in the role of Mercury. I wouldn't even bother to start comparing
him to any other living countertenor today.
Jacobs' performance is very Italian in flavour. The interpretation,
vocal dramatism and instrumental tone is more colourful. Jacobs'
direction is very accented and tends to "move" quicker. On the other
hand, the Amsterdam group possesses a full and smooth tone, very
pleasing to the ear. Koopman's excellent conducting is very apparent
from his beautiful moulding of musical line, as in the many curvaceous
turns of phrases.
In
Cantata BWV 201, Jacob's operatic style is a boon. Other
than the opening chorus, which is controversially hectic and furious,
Jacobs superior cast shines. His soloists immerse themselves convincingly
and delightfully into their roles, especially the "big bully" tone
of Klaus Häger's Aeolus. Mertens on the Koopman set is a little
more formal and less flexible.
Tenor
Christoph Prégardien is involved in both recordings. You can see
the effect of conductorial choice in his aria "Frische Schatten,
meine Freunde" ("Cool shades, my delight"), which is 3'47" for Jacobs
and for Koopman 4'52". Jacobs: momentum of drama; Koopman: sensation
of musical line. Another example: in Aeolus' "Wie will ich lustig
lachen" aria - the rushing violin passage in the background is a
buzzing blur in Jacobs' [1:18, 3'01"], while it is clear and musically
very effective in Koopman's [3:27, 3'06"]
For
the alto role, Kathatrina Kammerloher is secure while von Magnus
on the Erato set, by comparison, has this slightly "worrying" tone.
It takes more getting used to.
To
my surprise, Harmonia Mundi's cleaner recording does not have the
presence of Koopman's for Aeolus' last big orchestral aria. Koopman's
has more bloom - you can really imagine Aeolus/Mertens directing
the roaring winds to back off.
Cantata
BWV 213 - "Hercules At the Crossroads". Again both orchestras
and choirs provide fine performances. Soprano Efrat Ben-Nun's (Jacobs)
only aria is very sensuously done, with a light vibrato in "Schla.....fe",
the opening word. Anne Grimm (Erato) is equally secure of voice
and sweet, but less sensuous. Erato translates her role (Wollust)
as "Pleasure", while Harmonia Mundi gives us "Lust". Hmm.
Naturally it is an advantage to hear a countertenor in the role
of Herc rather than a female alto - let alone compare Andreas Scholl
to von Magnus. In fact a female friend of mine, aghast at her first
encounter with Scholl's voice, suggested that his voice could well
be better than some women's!
James
Taylor is in very fine voice in this cantata and I enjoyed very
much his "Auf meinen Flügen sollst du schweben" ("Upon my wings
you shall soar"). Here, surprisingly, Jacobs takes the slower pace,
which I think is more appropriate. The libretto is about "flying"
towards perfection. Préggardien on Erato sounds rushed.
In
conclusion, vocally speaking it is a matter of taste. To repeated:
drama for Jacobs; musical line and lyricism for Koopman. For orchestra
and choir: both have superb teams, but for me the Amsterdam Baroque
wins. Jacob's Akademie is an exciting orchestra and frequently displays
more colour, but they still cannot match the beauty of tone and
sheer unity of the Amsterdamers.
On
the recorded sound: Harmonia Mundi flatters the chamber pieces,
catching the sound of the continuo (especially lute and chamber
organ) with intimacy. Erato has a somewhat bigger acoustic space,
and thus works very well with the choruses. Harmonia Mundi does
not give that much space, but does catch the mass of instruments
cleanly. Still, the choruses on that set have a "rough" texture
compared to the smoother and much finer sound on Erato. Take your
pick.
CHIA
HAN-LEON's one and only theatrical experience involved a 4-kilogram
ornate Chinese War Helmet, and walking ten circles around the stage.
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17.5.1998© Chia Han-Leon
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