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Beethoven: Christus Am Olberge / Rilling, Bach-collegium Stuttgart

Beethoven / Bach-collegium Stuttgart / Brodard
Release Date: 02/25/2014 
Label:  Hänssler Classic   Catalog #: 98030   Spars Code: DDD 
Composer:  Ludwig van Beethoven
Performer:  Keith LewisMichel BrodardMaria Venuti
Conductor:  Helmuth Rilling
Orchestra/Ensemble:  Stuttgart Bach CollegiumGächinger Kantorei Stuttgart
Number of Discs: 1 
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Notes and Editorial Reviews



BEETHOVEN Christus am Ölberge Helmuth Rilling, cond; Maria Venuti ( Seraph ); Keith Lewis ( Jesus ); Michel Brodard ( Peter ); Gächinger Kantorei Stuttgart; Bach-Collegium Stuttgart HÄNSSLER 98.030 (53:52 Text and Translation)


Now in his 80s, despite having resigned his directorships with Read more various institutions, Helmuth Rilling continues to amaze with vital, impassioned performances of both his beloved Bach and other choral music up through the early Romantic period (and occasional 20th-century works thrown in for flavor). This particular disc, however, is a reissue of his February 1994 recording of Beethoven’s Christ on the Mount of Olives, made when he was a mere stripling of 61. Like all his performances, it is crisply yet passionately played and sung. Throughout his career he has used reduced orchestras and choruses but never, to my knowledge, ever insisted on continual “straight tone” in his singers of players because, like anyone who has done thorough research into the era, he knows it is not supported by the reality of the time. And, in common with virtually all of his recordings using singers, his taste in soloists is impeccable.


The work itself is not considered top-drawer Beethoven, but it’s certainly better than its reputation. The real weakness lies in the poorly written text; Beethoven acknowledged as much, but felt that he surpassed the poor words with some very fine music. This, however, did not stop his publisher (Breitkopf & Hartel) from complaining, nor the press reviews, neither of which swayed Beethoven from his conviction that he had written a good work. In this performance the validity of the composer’s own judgment comes through. It is not perfect, and stylistically harks back to Haydn in certain sections, but it is surely a finer piece than its detractors will admit.


The two most famous pieces in this work are Jesus’ “My soul within me shudders” (recorded in 1930 by John McCormack under the title My heart is sore within me ) and the Seraph’s beautiful aria “Praise the Redeemer’s goodness.” Both are sung splendidly here by tenor Lewis and soprano Venuti but, more importantly, I was impressed by the way Rilling pulls the whole oratorio together, from Overture to Finale, like a continuous, forward-moving juggernaut. Indeed, I liked this recording far better than Kent Nagano’s over-hyped version on Harmonia Mundi featuring a labored, leathery-sounding Plácido Domingo as Jesus, or the once-prized Volker Wangenheim recording on EMI with a transcendent Cristina Deutekom as the Seraph but an out-of-focus Nicolai Gedda as Jesus.


One may certainly criticize this piece, like the Verdi Requiem, for being somewhat more theatrical than is good for a supposedly sacred work, but I’ll take it as long as what I hear makes musical sense and projects the proper mood. Baritone Brodard, in the small role of Peter, is also quite fine. The sound quality is crystal-clear yet with a nice amount of space around soloists, chorus and orchestra, and a complete text in both German and English is included. If you enjoy this piece, I recommend this recording as an outstanding performance of it.


FANFARE: Lynn René Bayley
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Works on This Recording

1.
Christus am Ölberge, Op. 85 by Ludwig van Beethoven
Performer:  Keith Lewis (Tenor), Michel Brodard (Bass), Maria Venuti (Soprano)
Conductor:  Helmuth Rilling
Orchestra/Ensemble:  Stuttgart Bach Collegium,  Gächinger Kantorei Stuttgart
Period: Classical 
Written: 1803-1804; Vienna, Austria 
Date of Recording: 1993 
Venue:  Liederhalle, Stuttgart, Germany 
Length: 53 Minutes 52 Secs. 
Language: German 

Sound Samples

Christus am Olberge (The Mount of Olives), Op. 85: Introduction
Christus am Olberge (The Mount of Olives), Op. 85: Recitative: Jehovah, du mein Vater (Tenor)
Christus am Olberge (The Mount of Olives), Op. 85: Aria: Meine Seele ist erschuttert (Tenor)
Christus am Olberge (The Mount of Olives), Op. 85: Recitative: Erzittre, Erde! (Soprano)
Christus am Olberge (The Mount of Olives), Op. 85: Aria: Preist des Erlosers Gute (Soprano)
Christus am Olberge (The Mount of Olives), Op. 85: Chorus: O Heil euch, ihr Erlosten (Soprano)
Christus am Olberge (The Mount of Olives), Op. 85: Chorus: Doch weh! Die frech entehren (Soprano)
Christus am Olberge (The Mount of Olives), Op. 85: Recitative: Verkundet, Seraph, mir dein Mund (Tenor, Soprano)
Christus am Olberge (The Mount of Olives), Op. 85: Duet: So ruhe denn (Tenor, Soprano)
Christus am Olberge (The Mount of Olives), Op. 85: Recitative: Willkommen, Tod! (Tenor)
Christus am Olberge (The Mount of Olives), Op. 85: Chorus: Wir haben ihn gesehen
Christus am Olberge (The Mount of Olives), Op. 85: Recitative: Die mich zu fangen ausgezogen (Tenor)
Christus am Olberge (The Mount of Olives), Op. 85: Chorus: Hier ist er
Christus am Olberge (The Mount of Olives), Op. 85: Recitative: Nicht ungestraft (Bass, Tenor)
Christus am Olberge (The Mount of Olives), Op. 85: Trio: In meinen Adern wuhlen (Bass, Tenor, Soprano)
Christus am Olberge (The Mount of Olives), Op. 85: Chorus: Auf, ergreifet den Verrater! (Tenor)
Christus am Olberge (The Mount of Olives), Op. 85: Chorus: Welten singen Dank und Ehre
Christus am Olberge (The Mount of Olives), Op. 85: Chorus: Preiset ihn, ihr Engelchore

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