Bach, J S: Christmas Oratorio, BWV248
Regula Mühlemann (soprano), Anna Lucia Richter (soprano), Wiebke Lehmkuhl (mezzo-soprano), Sebastian Kohlhepp (tenor), Michael Nagy (bass)
Gaechinger Cantorey, Hans-Christoph Rademann
Only now and again does Hans-Christoph Rademann’s sprightly tactus work against the Affekt at hand…the high-impact openings to the odd-numbered cantatas come off best…Star of the show is Wiebke...
Bach, J S: Christmas Oratorio, BWV248
Regula Mühlemann (soprano), Anna Lucia Richter (soprano), Wiebke Lehmkuhl (mezzo-soprano), Sebastian Kohlhepp (tenor), Michael Nagy (bass)
Gaechinger Cantorey, Hans-Christoph Rademann
Purchase product
Only now and again does Hans-Christoph Rademann’s sprightly tactus work against the Affekt at hand…the high-impact openings to the odd-numbered cantatas come off best…Star of the show is Wiebke...
About
Originally written for the three days of Christmastide 1734 and the beginning of 1735, Johann Sebastian Bach’s Christmas Oratorio has since gone on to become an established part of Advent and Christmas. With soloists Anna Lucia Richter, Regula Mühlemann, Wiebke Lehmkuhl, Sebastian Kohlhepp, and Michael Nagy, the newly-formed ensemble of the Gaechinger Cantorey conducted by Hans-Christoph Rademann celebrate their first Christmas Oratorio together with this recording of all six cantatas!
Contents and tracklist
- Sebastian Kohlhepp (tenor), Wiebke Lehmkuhl (alto), Regula Mühlemann (soprano), Michael Nagy (baritone)
- Gaechinger Cantorey
- Hans-Christoph Rademann
- Recorded: 3-4 December 2016
- Recording Venue: Liederhalle Stuttgart, Germany
- Recorded: 3-4 December 2016
- Recording Venue: Liederhalle Stuttgart, Germany
- Anna Lucia Richter (soprano)
- Recorded: 3-4 December 2016
- Recording Venue: Liederhalle Stuttgart, Germany
- Recorded: 3-4 December 2016
- Recording Venue: Liederhalle Stuttgart, Germany
- Recorded: 3-4 December 2016
- Recording Venue: Liederhalle Stuttgart, Germany
- Recorded: 3-4 December 2016
- Recording Venue: Liederhalle Stuttgart, Germany
Awards and reviews
March 2018
Only now and again does Hans-Christoph Rademann’s sprightly tactus work against the Affekt at hand…the high-impact openings to the odd-numbered cantatas come off best…Star of the show is Wiebke Lehmkuhl…With her every appearance the sometimes frenetic pulse of the performance is centred and the work of her instrumental colleagues more focused; you can hear them listening to her.
