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Bach : Passion selon St. Matthieu. Güra, Mields, Lewandowska, Potter, Contaldo, MacLeod.
Format : 2 CD Digipack
Total Time : 02:40:04

Recording : 22-25/04/2019
Location : Genève
Country : Suisse
Sound : Studio / Stereo

Label : Claves
Catalog No. : CLA3012/13
EAN : 7619931301228
Price Code : DM029A

Publishing Year : 2020

Genre : Classical
Johann Sebastian Bach (1685-1750)
Passion selon St. Matthieu, BWV 244

Gli Angeli Genève
Werner Güra (Evangéliste)
Benoit Arnould (Jésus)
Dorothee Mileds, soprano (Ancilla I)
Aleksandra Lewandowska, soprano II (Uxor Pilati)
Sarah Van Mol (Ancilla II)
Alex Potter, alto I
Marine Fribourg, alto II (Testis I)
Thomas Hobbs, ténor
Valerio Contaldo, ténor II (Testis II)
Stephan MacLeod, basse I (Judas, Pontifex II, Pilatus)
Matthew Brook, bassse II (Petrus, Pontifex II)
Alexis Kossenko, flûte
Sarah van Cornewal, flûte
Jan Van den Borre, flûte
Emmanuel Laporte, hautbois
Katharina Andres, hautbois
Leila Schayegh, violon
Eva Saladin, violon
Romina Lischka, viole de gambe
Tomasz Wesolowski, basson
Ageet Zweistra, violoncelle
Dorine Lepeltier, violoncelle
Michaël Chanu, contrebasse
Cléna Stein, contrebasse
Francis Jacob, orgue
Maude Gratton, orgue
Bertrand Cuiller, clavecin
Stephan MacLeod, direction
Maîtrise du Conservatoire Populaire de Musique, Danse et Théâtre de Genève
Petits Chanteurs de la Schola de Sion
Maîtrise Musique Ecole du Conservatoire de Lausanne

This 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. In concert, with small vocal groups, Gli Angeli Genève 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 Bach 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.

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