Die Höchste(n) der Gefühle: Bachs h-Moll-Messe mit Thomas Hengelbrock

By Jens Klier, 20 December 2020

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“ein Universum der Zufriedenheit”

Reviewed at Elbphilharmonie: Grand Hall, Hamburg on 20 December 2020

Bach, Mass in B minor, BWV232

Thomas Hengelbrock, Conductor

Balthasar-Neumann-Chor

Balthasar-Neumann-Ensemble

The Carsen effect: brilliant Iphigénie in Paris

Tristan Labouret, 22nd June

The Canadian director's aesthetic is a perfect fit for Gluck's work. Dazzling performances by Gaëlle Arquez and Stéphane Degout. Great musical direction by Thomas Hengelbrock.

*****

An early start to Easter: Bach in Oslo

Aksel Tollåli, 17th March

The Balthasar-Neumann-Chor and Ensemble performed a deeply moving, if slightly uneven, St John Passion, setting off the Oslo Church Music Festival.

****1

Pablo Heras-Casado explores Monteverdi in Barcelona

Pep Gorgori, 9th February

Having received excellent reviews for his Mahler, Verdi, Wagner and Shostakovich, Pablo Heras-Casado decided to programme a composer he has loved since his youth: Claudio Monteverdi.

****1

Orpheus and Eurydice at Teatro Real

Fernando Remiro, 12th July

Almost 40 years after its première, Pina Bausch's daring reinterpretation of the myth of Orpheus still captivates audiences worldwide. This tanzoper is one of the most accomplished attempts to create a contemporary tragedy, an enthralling reflection on human boundaries and the acceptance of death.

****1

Pina Bausch lives: Orpheus and Eurydice at the Lincoln Center

Stephen Raskauskas, 20th July

Two years after her untimely death, the world is still celebrating of one of the most influential figures of contemporary dance – Pina Bausch.

****1

Steffani's Niobe, Regina di Tebe at Covent Garden

David Karlin, 25th September

In 2008, conductor Thomas Hengelbrock rediscovered Niobe, Regina di Tebe, written in 1687 by the Venetian-born, German-based composer Agostino Steffani. Although now little remembered, Steffani was a world-famous composer in his day and a man of many talents who became a diplomat and bishop as well as being a musician.

*****

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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'.

Die Höchste(n) der Gefühle: Bachs h-Moll-Messe von Hengelbrock und seinen BNEs