Bachs Matthäuspassion so spannend und lebendig

By Jens Klier, 25 March 2016

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Reviewed at Kölner Philharmonie, Cologne on 24 March 2016

Bach, St Matthew Passion, BWV244

Ensemble Pygmalion

Julian Prégardien, Tenor

Stéphane Degout, Baritone

Sabine Devieilhe, Soprano

Maïlys de Villoutreys, Soprano

Benno Schachtner, Countertenor

Lucile Richardot, Mezzo-soprano

Thomas Hobbs, Tenor

Christian Immler, Baritone

Raphaël Pichon, Conductor

Luigi Rossi's Orfeo makes it a hat trick for Pygmalion in Adelaide

Sandra Bowdler, 4th March

A wonderful performance of a hitherto little known 17th-century version of the Orpheus legend is performed by Raphaël Pichon and Pygmalion at the Adelaide Festival.

****1

Totally stunning Monteverdi Vespers by Pygmalion at Adelaide Festival

Sandra Bowdler, 2nd March

It is hard to imagine a better performance of Monteverdi's Vespers of 1610 than this one by the French ensemble Pygmalion under the direction of Raphaël Pichon.

*****

Good Night World: Pygmalion opens the Adelaide Festival in style

Sandra Bowdler, 27th February

The French ensemble Pygmalion enraptures the audience at the first night of the Adelaide Festival with a concert of music by JS Bach and his predecessors.

****1

Implacable Werther at Opéra-Comique from Pichon and Huffman

Romain Daroles, 19th January

Tight orchestral playing, minimalist stage design: the conductor and director are perfectly in tune with each other, transforming Massenet's work into an intimate and timeless drama.

****1

Luxury casting in Aix for a radiantly transcendent St Matthew Passion

Stephen Pritchard, 2nd April

Even outstanding soloists had to wait their turn in this Rolls-Royce performance in Aix-en-Provence.

*****

Operatic magic: Ercole Amante at the Opéra Comique

Jean-Marc Piriou, 6th November

Voices, orchestra staging: everything in this Ercole Amante is light and magic, to the great delight of the Salle Favart audience.

*****

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Jens Klier

Vor seinem Rechtswissenschafts-Studium in Bayreuth und Bonn widmete sich Jens Klier seit frühester Kindheit musikalisch der Violine (Repertoire vom 17. bis 20. Jahrhundert). Während er zudem mit Gesang und dem Leben im Orchesterbetrieb groß wurde, entwickelte sich ein besonderes Interesse an der sogenannten 'Historischen Aufführungspraxis' und authentischen Instrumenten. Diese Leidenschaft hält sich hartnäckig, sodass er sie mit Vorliebe für das Barocke anstatt mit Finger und Bogen nun in Form der Musikkritik zu Gehör bringt. U.a. Telemann-Fan, Liebhaber J. S. Bachs Genies und Entdecker neuerer, seltenerer 'Alter Musik'.

Bachs Matthäuspassion so spannend und lebendig: Ensemble Pygmalion beim Kölner Debüt