{"title":"Werner Güra","description":"","products":[{"product_id":"bach-matthaus-passion","title":"(2020) Bach: Matthäus-Passion","description":"\u003cp\u003eThis recording was made in April 2019 at the Ernest-Ansermet Studio in Geneva, after five concerts in Switzerland during the preceding days. The desire to be as faithful as possible to the rhythm of the drama of the Passion and to the evidence of the musical sequences, which is easier to feel during a live performance than in front of the relative abstraction of the microphones, as well as a non-negligible time constraint (three and a half days in the studio for a work of 160 minutes), pushed us to record long takes, sometimes including up to 10 or 12 minutes of music, thus getting as close as possible to the feeling of a concert.\u003c\/p\u003e\n\u003cp\u003eIn concert, with small vocal groups, \u003ca href=\"\/collections\/gli-angeli-geneve\"\u003eGli Angeli Genève\u003c\/a\u003e systematically places the singers in front of the instruments regardless of repertoire, so as to give speech in music the most prominent place possible. When recording, since the audience’s crucial role cannot be replaced by the microphones, we place ourselves in a large circle, all facing each other. We can see each other playing, singing, vibrating, breathing and reacting. The idea of reaction is central to this work where, when the action of the story is suspended, it is immediately replaced by emotion and poetic as well as musical beauty that Matthew’s story inspired in \u003ca href=\"\/collections\/johann-sebastian-bach\"\u003eBach\u003c\/a\u003e and Picander. Airs as well as chorales. And within our circle we can react together, engage in dialogue, and see ourselves feel the drama and powerful affects that mark the work relentlessly. And then we can share the pleasure and sometimes the awe - so beautiful is the music – of being able to live all this together.\u003c\/p\u003e\n\u003cp\u003eForming a circle to make this music and observing the extraordinary musicians of Gli Angeli Genève at work led me to realise the extent to which The Saint Matthew Passion has structured the career and relationship to music of many of us. Virtually all of us have discovered and “learned” it with conductors and in readings that gave us the most beautiful keys to its understanding, which we in turn were able to refine in the course of our respective experiences with it, experiences that for the not so young among us already represent hundreds of concerts. Being together during those few days in April to testify to our love for this work and what it demands of us, evoked and still evokes to me a magnificent record by Astor Piazzolla that I had bought during my studies and that I listened to over and over again at the time. A text in the CD booklet had struck me almost as much as his music: Piazzolla had written poignantly that this recording, for him and his musicians, existed “so that their grandchildren would know who they were”. Of course, Piazzolla was writing his own music whereas we would be incapable of writing but 10 bars of Bach, but the recording you are holding in your hands is also to say who we are, what we are fortunate enough to do in life, and that there are few pleasures in this world equal to making this very music with friends.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e***\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3\u003eGli Angeli Geneva\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"\/collections\/gli-angeli-geneve\"\u003eGli Angeli Geneva\u003c\/a\u003e was founded in 2005 by \u003ca href=\"\/collections\/stephan-macleod\"\u003eStephan MacLeod\u003c\/a\u003e. A formation of varying size, playing on period instruments (or copies thereof), the ensemble is made up of musicians who have careers in the field of baroque music, but who are not only active in this field: they do not play solely early music. Their eclecticism guarantees the vitality of their enthusiasm. It is also a driving force behind their curiosity.\u003c\/p\u003e\n\u003cp\u003eRight from the beginning of a musical adventure that for several years concentrated solely on live performances of the complete Bach Cantatas in Geneva, with three concerts per season, Gli Angeli Genève has been the setting for encounters between some of the most famous singers and instrumentalists of the international baroque scene and young graduates of the High Schools of Music of Basel, Lyon, Lausanne and Geneva.\u003c\/p\u003e\n\u003cp\u003eInternationally acclaimed since the release in 2009 and 2010 of its first two CDs, which won numerous critical awards, the ensemble now gives seven or eight concerts per season in Geneva, as part of its Complete Bach Cantatas on the one hand, a series of annual concerts at the Victoria Hall on the other, and since September 2017 in a new complete series dedicated to Haydn’s Symphonies. The ensemble is equally in demand in Switzerland and abroad for performances not only of Bach, but also Tallis, Josquin, Schein, Schütz, Johann Christoph Bach, Weckmann, Buxtehude, Rosenmüller, Haydn, Mozart and others. In recent seasons, Gli Angeli Genève has been in residence at the \u003cem\u003eUtrecht Festival \u003c\/em\u003eand the \u003cem\u003eThüringer Bachwochen, \u003c\/em\u003eand has also performed in Basel, Zurich, Lucerne, Barcelona, Nürnberg, Bremen, Stuttgart, Brussels, Milan, Wroclaw, Paris, Ottawa, Vancouver, Amsterdam and The Hague. Gli Angeli Genève is a regular guest at the Festival de Saintes, Utrecht festival, the \u003cem\u003eMusikfest \u003c\/em\u003ein Bremen or the \u003cem\u003eBach Festival \u003c\/em\u003ein Vancouver. The ensemble made its debut in 2017 at the Grand Théâtre in Geneva and in 2019 at the KKL in Lucerne.\u003c\/p\u003e\n\u003cp\u003eGli Angeli Genève’s latest recording for Claves, \u003cem\u003e\u003ca href=\"\/collections\/gli-angeli-geneve\/products\/17th-century-sacred-music-in-wroclaw\"\u003eSacred Music of the 17th century in Wroclaw\u003c\/a\u003e, \u003c\/em\u003ewon the \u003ca href=\"\/collections\/icma-awards\"\u003eICMA prize\u003c\/a\u003e for best vocal baroque music recording of the year in 2019.\u003c\/p\u003e\n\u003cp\u003eFind this album \u003ca href=\"\/collections\/gli-angeli-geneve\/products\/17th-century-sacred-music-in-wroclaw\"\u003ehere\u003c\/a\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"\/collections\/gli-angeli-geneve\/products\/17th-century-sacred-music-in-wroclaw\"\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931180526_frontcover-icma-awards_240x240.jpg?v=1580986107\"\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e***\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3\u003eDistribution\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"\/collections\/gli-angeli-geneve\"\u003eGli Angeli Genève\u003c\/a\u003e\u003cbr\u003eWerner Güra, \u003cem\u003eEvangéliste\u003c\/em\u003e\u003cbr\u003eBenoit Arnould, \u003cem\u003eJésus\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eDorothee Mields, \u003cem\u003esoprano I (Ancilla I)\u003c\/em\u003e\u003cbr\u003eAleksandra Lewandowska, \u003cem\u003esoprano II (Uxor Pilati)\u003c\/em\u003e\u003cbr\u003eSarah Van Mol \u003cem\u003e(Ancilla II)\u003c\/em\u003e\u003cbr\u003eAlex Potter, \u003cem\u003ealto\u003c\/em\u003e I | Marine Fribourg, \u003cem\u003ealto II (Testis I)\u003c\/em\u003e\u003cbr\u003eThomas Hobbs, \u003cem\u003eténor\u003c\/em\u003e I | Valério Contaldo, \u003cem\u003eténor II (Testis II)\u003c\/em\u003e\u003cbr\u003eStephan MacLeod, \u003cem\u003ebasse I (Judas, Pontifex II, Pilatus)\u003c\/em\u003e | Matthew Brook, \u003cem\u003ebasse II (Petrus, Pontifex I)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSolistes instrumentaux\u003cem\u003e \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAlexis Kossenko, Sarah van Cornewal et Jan Van den Borre, \u003cem\u003eflûtes\u003cbr\u003e\u003c\/em\u003eEmmanuel Laporte et Katharina Andres, \u003cem\u003ehautbois\u003cbr\u003e\u003c\/em\u003eLeila Schayegh et Eva Saladin, \u003cem\u003eviolons\u003cbr\u003e\u003c\/em\u003eRomina Lischka, \u003cem\u003eviole de gambe \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eContinuo\u003cem\u003e \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTomasz Wesołowski, \u003cem\u003ebasson\u003cbr\u003e\u003c\/em\u003eAgeet Zweistra et Dorine Lepeltier, \u003cem\u003evioloncelles\u003cbr\u003e\u003c\/em\u003eMichaël Chanu et Cléna Stein, \u003cem\u003econtrebasses\u003cbr\u003e\u003c\/em\u003eFrancis Jacob et Maude Gratton, \u003cem\u003eorgues\u003cbr\u003e\u003c\/em\u003eBertrand Cuiller, \u003cem\u003eclavecin \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMaîtrise du Conservatoire Populaire de Musique, Danse et Théâtre de Genève, Petits Chanteurs de la Schola de Sion, Maîtrise Musique Ecole du Conservatoire de Lausanne\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"\/collections\/stephan-macleod\"\u003eStephan MacLeod\u003c\/a\u003e, \u003cem\u003edirection\u003c\/em\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 3012\/13 \/ 2 \/ Stephan MacLeod","offer_id":39924537917475,"sku":"3012\/13","price":24.0,"currency_code":"CHF","in_stock":true},{"title":"# \/ orchestra \/ Stephan 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Mora \/ Stephan MacLeod","offer_id":31684956127267,"sku":"3012\/13","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.qobuz.com\/ch-fr\/album\/bach-matthaus-passion-bwv-244-stephan-macleod-werner-gura-gli-angeli-geneve\/ndigiibxirz5a \/ Qobuz HD \/ Stephan MacLeod","offer_id":31766137143331,"sku":"3012\/13","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/uk.7digital.com\/artist\/stephan-macleod-werner-gura-and-gli-angeli-geneve\/release\/bach-matthäus-passion-bwv-244-13792411 \/ 7digitalHD \/ Stephan MacLeod","offer_id":39536214933539,"sku":"3012\/13","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.hdtracks.com\/#\/album\/5e58c776d834e4631430c804 \/ HD-Tracks \/ Stephan MacLeod","offer_id":39536214966307,"sku":"3012\/13","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/7619931301228_frontcover.jpg?v=1580984296"},{"product_id":"j-s-bach-johannes-passion","title":"(2023) J.S. Bach:  Johannes-Passion","description":"\u003ch3\u003eSt John Passion (BWV 245)\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"#reviews\"\u003eRead reviews\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eAccording to the obituary written by his son Carl Philip Emmanuel and his former pupil Johann Friedrich Agricola, Johann Sebastian Bach composed five \u003cem\u003ePassions\u003c\/em\u003e, including “one for two choirs” (the \u003cem\u003eSt Matthew Passion\u003c\/em\u003e). However, only two of them have survived in their entirety. A third one, the \u003cem\u003eSt Mark Passion\u003c\/em\u003e, has given rise to various reconstructions, and the last two, if they at all existed, are irretrievably lost. Of the two \u003cem\u003ePassions \u003c\/em\u003ethat have come down to us, the \u003cem\u003eSt John Passion \u003c\/em\u003ewas the first to be composed; Bach had it performed for the first time in the St Nicholas Church less than a year after taking up his post in Leipzig, on 7 April 1724 (he had taken the liberty of announcing it to the St Thomas Church, which earned him a reprimand; he got away with a somewhat ironic letter of apology). The work was again performed the following year, this time at St Thomas’, and most likely on further occasions in 1732, 1739 and 1749, with various revisions.\u003c\/p\u003e\n\u003cp\u003eA musical account of Christ’s crucifixion can be traced back to the Middle Ages, but in the early eighteenth century, the narrative took on an oratorio-like form that one finds with most composers of Bach’s generation. It was a kind of apotheosis of music dedicated to liturgical services. Bach had planned three complete cantata cycles culminating with the performance of three \u003cem\u003ePassions \u003c\/em\u003eduring the Lenten period on Good Friday. He conducted 26 of them during his 28-year tenure, repeating his own cantatas on several occasions and introducing those of other composers such as Telemann, Handel and Keiser.\u003c\/p\u003e\n\u003cp\u003eThe texts of the \u003cem\u003ePassions \u003c\/em\u003eassociated biblical sources with derived poetic elaborations, such as Barthold Heinrich Brockes’ writings, which inspired several composers; paraphrases thereof are to be found in the \u003cem\u003eSt John Passion\u003c\/em\u003e. These texts were strictly controlled, and Bach had problems with the Consistory in this respect. This might explain why he deleted, among others, the opening chorus, the concluding chorale \u003cem\u003e(“\u003c\/em\u003eAch Herr, lass dein lieb Engelein”) and the tenor aria \u003cem\u003e“\u003c\/em\u003eAch, mein Sinn\u003cem\u003e” \u003c\/em\u003ein the 1725 revival of the work. There were further problems with the 1739 revival, and Bach did not revert to the original version’s libretto until 1749, a year before his death. It is unknown whether this was in agreement with the Consistory or a gesture of defiance (but changes sometimes resulted from practical problems related to available performers). The name of the librettist who assembled the \u003cem\u003eSt John Passion\u003c\/em\u003e’s texts is unknown: it was probably Bach himself, in collaboration with an assistant.\u003c\/p\u003e\n\u003cp\u003eThe \u003cem\u003ePassion \u003c\/em\u003ewas bound to the service: after the ringing of the bells and a sung motet, its first part was performed, followed by a long sermon; then came the second part of the \u003cem\u003ePassion\u003c\/em\u003e. The service could last four to five hours; it ended with a motet, a sung verse, an oration and a final chorale. John’s account, which Luther considered the best of the four gospels, is narrated by a tenor voice in secco recitatives (accompanied only by the continuo): this is the voice of the Evangelist; those of the Christ, the apostle Peter and Pontius Pilate, as well as the crowd (known as the “turba”), are inserted in the narration. [..]\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931306827_BOOKLET_pages.pdf?v=1678886434\" target=\"_blank\"\u003e\u003cem\u003eRead more in the booklet\u003c\/em\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eNote on the successive versions and the present recording\u003c\/h3\u003e\n\u003cp\u003eA performance of the St John Passion, however historically informed, is necessarily a compromise. Indeed, Bach did not leave a definitive version of the work, as he had done for the St Matthew Passion. Nevertheless, he had undertaken such a task in 1732, making systematic changes and bringing improvements to the first quarter of the composition – all of which are taken up in modern editions – but he failed to maintain this effort throughout the entire work.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003ehe performance history of the Passion during Bach’s lifetime can be summarised in five important stages, about which much is known today. These stages took place in 1724, 1725, 1732, 1739 and 1749.\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931306827_BOOKLET_pages.pdf?v=1678886434\" target=\"_blank\"\u003e\u003cem\u003eRead more in the booklet\u003c\/em\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eGli Angeli Genève\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"\/collections\/gli-angeli-geneve\"\u003eGli Angeli Genève\u003c\/a\u003e was founded in 2005 by Stephan MacLeod. This ensemble of variable size plays on period instruments (or copies thereof) and comprises musicians who pursue a career in baroque music but are not active in the field of ancient music only. Their eclecticism guarantees freshness and enthusiasm. Since its creation, Gli Angeli Genève has been the meeting point for some of the most famous singers and instrumentalists on the international baroque scene and young graduates of the Basel, Lyon, Lausanne and Geneva music schools. Internationally renowned since its first two recordings in 2009 and 2010, the ensemble now gives more than fifteen concerts per season in Geneva, as part of its complete Bach Cantatas, a series of annual concerts at the Victoria Hall, the annual Haydn-Mozart festival created by the ensemble in 2021, and finally the \u003cem\u003eChambre des Anges\u003c\/em\u003e, a new concert series inaugurated in 2022 and devoted to chamber music.\u003c\/p\u003e\n\u003cp\u003eAt the same time, the ensemble is in demand in Switzerland and abroad to perform Bach, but also Tallis, Josquin, Schein, Schütz, Johann Christoph Bach, Weckmann, Buxtehude, Rosenmüller, Haydn, Mozart, etc. In recent seasons, Gli Angeli Genève has been in residence at the Utrecht Festival and the Thüringer Bachwochen, and has also given concerts in Basel, Zurich, Lucerne, Barcelona, Nürnberg, Bremen, Stuttgart, Brussels, Milan, Wroclaw, Paris, Ottawa, Vancouver, Amsterdam and The Hague. Gli Angeli Genève is a regular guest at the Festivals of Saintes, Utrecht, Musikfest Bremen and the Bach Festival in Vancouver. In 2017 the ensemble made its debut at the Grand Théâtre de Genève and in 2019 at the KKL in Lucerne. On the occasion of the Haydn- Mozart Festival, Gli Angeli Genève collaborates with guest conductors and artists: Michel Corboz in 2021, Kristian Bezuidenhout in 2022 and Philippe Herreweghe in 2023.\u003c\/p\u003e\n\u003cp\u003eGli Angeli Genève’s first recording for Claves Records, \u003cem\u003eSacred Music of the 17th Century in Wroclaw\u003c\/em\u003e, won the 2019 ICMA award for best Baroque Vocal Recording of the Year, and Johann Sebastian Bach’s \u003cem\u003eSt. Matthew Passion \u003c\/em\u003ewas enthusiastically received by audiences and critics in Switzerland and around the world. The ensemble’s discography also includes a Bach \u003cem\u003eMass in B minor\u003c\/em\u003e, nominated for an ICMA 2022 award, Bach’s \u003cem\u003eBass Cantatas\u003c\/em\u003e, and the rare \u003cem\u003eSymphonies Concertantes \u003c\/em\u003eby Antoine Reicha, with soloists Christophe Coin, Davit Melkonyan, Chouchane Siranossian and Alexis Kossenko. The last CD released in October 2022, Mozart’s \u003cem\u003eConcertos for flute and orchestra\u003c\/em\u003e, with Alexis Kossenko (flute) and Valeria Kafelnikov (harp) has been nominated for an ICMA 2023 award in the “Concerto” category.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eGli Angeli Genève has a regional support agreement with the City of Geneva, the Republic and Canton of Geneva and the Thé\u003c\/em\u003eâ\u003cem\u003etre du Crochetan.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003ca href=\"https:\/\/www.gliangeligeneve.com\/\" target=\"_blank\"\u003egliangeligeneve.com\u003c\/a\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eStephan MacLeod, bass \u0026amp; direction\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.claves.ch\/collections\/stephan-macleod\"\u003eStephan MacLeod\u003c\/a\u003e was born in Geneva and studied singing in his native city, in Cologne and in Lausanne. His concert career began during his studies in Germany with a fruitful collaboration with Reinhard Goebel and Musica Antiqua Köln. Since then he has performed regularly with conductors such as Leonhardt, Herreweghe, Savall, Suzuki, Kuijken, Corboz, Brüggen, Kossenko, Pierlot, Luks, Mortensen, Harding, Junghänel, Rademann, Pichon, Van Immerseel, Coin, Rilling, Van Nevel and Bernius. He is the founder and conductor of the Ensemble Gli Angeli Genève, which gives some thirty concerts each year throughout the world, and he is regularly invited to conduct other ensembles (OSR, Philharmonie Zuidnerderland, Nederlandse Bachvereniging, etc.). More than 100 CDs, many of which have received critical acclaim, document his work. He has been professor of voice at the Haute Ecole de Musique de Lausanne since 2013 and will be at the Haute Ecole de Musique de Genève from September 2023.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eTranslated from French by www.DeepL.com\/Translator (free version)\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSource: \u003ca href=\"https:\/\/www.gliangeligeneve.com\/\" target=\"_blank\"\u003egliangeligeneve.com\u003c\/a\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 id=\"reviews\"\u003eREVIEWS\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/classica.fr\/disques\/toutes-nos-critiques\/\" rel=\"noopener\" target=\"_blank\"\u003eClassica Magazine\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« Qu’on se rassure : les quelque vingt-cinq minutes d’écart que signalent les minutages respectifs de ces deux versions ne traduisent nullement de saisissantes différences de tempo, Lars Ulrik Mortensen et Stephan MacLeod adoptant à peu près les mêmes. [..] La version suisse présente une belle respiration interne, des lignes souples, des chorals qui se déploient et soignent leurs fins de phrases, et une narration plus poétique que dramatique. Sans remettre en cause la suprématie de l’enregistrement théâtral et inspiré de Gardiner (Soli Deo Gloria, 2003, CHOC, CLASSICA n° 132), ces deux interprétations ne manquent pas d’atouts. À chacun de choisir selon sa sensibilité. » - Philippe Venturini, juin 2023\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/www.diapasonmag.fr\/critiques\" rel=\"noopener\" target=\"_blank\"\u003eDiapason Magazine\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« [..] Gli Angeli achèvent leur tour d’horizon des grandes œuvres chorales de Bach. Faute de constance dans l’engagement, la Passion selon saint Matthieu et la Messe en si (cf. nos 691 et 700) n’avaient pas toujours tenu leurs promesses. La Passion selon saint Jean marque une indéniable amélioration sur ce plan. Si l’on a connu chœur d’entrée plus fervent I 69 (il ne suffit pas d’avancer), Stephan MacLeod parvient à instaurer une dynamique qui assure à l’œuvre cohérence et progression. Il est aidé dans cette tâche par un Werner Güra très en verve, qui tient son rôle d’Evangéliste avec maîtrise et conviction. Saluons aussi des instrumentistes, emmenés par Leila Schayegh, capables de prendre la musique à bras-le-corps mais aussi de faire valoir, en finesse, une palette de couleurs séduisante. [..] » - Jean-Christophe Pucek, juin 2023\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.fonoforum.com\/\" target=\"_blank\"\u003eFonoForum\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"mso-ansi-language: DE-CH;\" lang=\"DE-CH\"\u003e« [..] Schon der Einleitungschor legt eine Qualität der Aufnahme offen: natürlich wirkender Gesang mit sehr guter Durchhörbarkeit. Hilfreich dafür ist gewiss auch, dass die Tempi eigentlich nie überzogen werden; dennoch entwickeln die Turbae nicht nur Drive, sondern auch eine unmittelbare Wirkkraft. Auf Letztere zielt auch der Vortrag von Werner Güra, der einen ungemein mitfühlenden Evangelisten gibt. Man glaubt ihm die Anteilnahme nicht zuletzt auch wegen mancher freier Tempi, die eben die Gefühlsebene widerspiegeln können. Auch die Choräle profitieren von recht markanter Textausdeutung, die aber nie künstlich wirkt. Das Orchester geht ebenfalls sehr flexibel auf die jeweiligen Stimmungslagen ein und stützt die Vokalisten ausgezeichnet. Ganz besonders kommt die Affektumsetzung natürlich in der Sterbeszene zur Geltung. So gefühlvoll und anrührend bekommt man diese wirklich selten zu hören. » - Reinmar Emans, September 2023\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.24heures.ch\/culture\" target=\"_blank\"\u003e24Heures\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« Poursuivant sur la lancée de sa très belle «Passion selon saint Matthieu » et de la «Messe en si», l’ensemble Gli Angeli Genève livre sa version de la «Passion selon saint Jean», de Bach, avec grosso modo la même équipe de rêve compacte et virtuose. Ses huit solistes forment le choeur, enrichi par la présence toujours percutante de l’évangéliste Werner Güra. Stephan MacLeod, à la fois chef et basse incarnant Judas, Pierre et Pilate, propose une traversée vivante et sensible de l’oeuvre, sans jamais verser dans l’excès de dramatisme, avec un orchestre d’une splendide réactivité. Cette passion ayant connu différentes variantes, Gli Angeli complète l’habituelle version de 1724 révisée en 1739 par les ajouts de celle de 1725. Une nouvelle référence! » - Matthieu Chenal, avril 2023\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.laliberte.ch\/articles\/culture\" target=\"_blank\"\u003eLa Liberté\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« L’ensemble Gli Angeli est venu à Bulle il y a un mois interpréter la Passion selon saint Matthieu. La même qui avait comblé le vide en 2020, à sa sortie discographique, en plein confinement. Aujourd’hui, c’est la première et la plus dense des deux composées par Bach, la Passion selon saint Jean, qui paraît, toujours chez Claves. Les chanteurs et instrumentistes réunis autour du chef genevois Stephan MacLeod ont les mêmes qualités de fraîcheur, d’implication: avec eux, la musique de Bach vibre, on la sent vivante, présente, incarnée. Même sans jamais forcer le trait, la géniale théâtralisation opère, par la diversité des styles, par les effets qui amplifient le récit. L’ensemble porte un grand soin à la beauté des timbres et des couleurs instrumentales. S’il ne fallait garder qu’une version… Une splendeur! » Elisabeth Hass, avril 2023\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/musicwebinternational.com\/2024\/03\/js-bach-st-john-passion-claves\/\" rel=\"noopener\" target=\"_blank\"\u003eMusicWeb International\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e“Despite some shortcomings, this is one of the better performances of the St John Passion” - Johan van Veen, march 2024\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 3068\/69 \/ 2 \/ Stephan MacLeod","offer_id":39953706090531,"sku":"3068\/69","price":24.0,"currency_code":"CHF","in_stock":true},{"title":"# \/ orchestra \/ Stephan MacLeod","offer_id":39953706123299,"sku":"3068\/69","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ choir \/ Stephan 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