These are gripping interpretations performed at a high technical level. They convince not only with exuberant temperament, tight rhythm, and great textures, but also express the melancholy of the Grave movements very well.
Ivan Repušić, the chief conductor of the orchestra, secures excellent results. These performances are assured, lyrical, and idiomatic. There are other recordings of all these works, but not grouped together. This is a very worthwhile recording.
The centre of this recording is the Miserere. There is of course the classic, 30-year old recording by the Hilliard Ensemble, but any admirer of the work will be keen to have this new version, so immediate is its impact and so impressive its sonic depth.
The performances show Jansons wrestling with the scores, never coasting as he easily could have. His reading of Brahms's Symphony No. 4 is deeply considered, with a corker of a finale that flows through its passacaglia variation structure like a giant river.
In "Distant Light", there is a strong sense of narrative sound from orchestra and soloist, whose control of vibrato and tone color ranges from nervous intensity to still radiance.Its difficult-to-record ending comes off well.
Arman conducts with assurance. The world-class Bavarian chorus supplies an inspired sacred sound, ardent, ample, and immediate. The vocal soloists integrate splendidly and convincingly. The Requiem's emotional drama is honored here faithfully.
Dvořák's fully notated piano part is beautifully modulated here by Julius Drake. The soloists make a mostly well-matched team, the best of them being Gerhild Romberger. This new recording well surpasses its only, decade-old rival on record..
Sigismondo, an old-fashioned travesti role, is sung by Marianna Pizzolato. Both she and Kenneth Tarver as the king’s devious and sexually ambitious Prime Minister are class acts. Conductor Keri-Lynn Wilson's drive and authority wonders for the piece.
The Beethoven and Haydn performances are absolutely brilliant, and cause to marvel at not only Haitink’s longevity but also the way his approach to music can deepen and develop as he gains in years and wisdom.
Choral discipline and precision are nothing short of astounding. The tone is clear and refined, and the singers can take Bach’s most daunting vocal writing in stride. This permits Arman to sculpt beautifully paced and balanced performances.