Customer Reviews

Lorraine Hunt Lieberson - Bach Cantatas BWV 82 and 199

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For those who have had the ecstatic pleasure of hearing Lorraine Hunt Lieberson in person this CD of two luminously performed Bach Cantatas will be no surprise, and will even be a welcome reprise. Surely one of the most sensitive, vocally gifted, insightful singers before the public today, Lorraine Hunt Lieberson is destined to become known throughout the world as the megastar she truly is. This may be despite her apparent selflessness of interpreting music as complex and subtle as Bach's cantatas # 82 and #199. Most singers who approach the Baroque repertoire emphasize pyrotechnic execution of Bach's seemingly brutal writing. Hunt Lieberson finds the poetry and the essence of the words and wraps them effortlessly with the music into extended moments of communication. In both of these cantatas the solo oboe is treated less like an incidental obbligato than as a voice, equal to the vocal line and to the orchestra in the singer's approach. Everything is in its place, the lush beauty of her mezzo soprano timbre is nothing short of stunning, and her musicianship qualifies her as a true 'Musician's Musician.' In some circles that connotation might suggest that this is a technically fine but 'dry' performer: Hunt Lieberson is without a doubt one of the most warmly compassionate singers of our time. This CD deserves not only the Grammy, but it also deserves a place in the collection of every music lover - Baroque and beyond. Lorraine Hunt Lieberson is a Phenomenon.

This is not addressed to any particular cd, but to the woeful ignorance of Amazon.com in regard to classical music, particularly classical vocal music. My case lies in your "listen to" features that are supposed,I would assume, to allow a propective buyer to hear THE VOCALIST. What whoever manages thess things obviously does know or care about is that most classical vocals (arias, cantatas, songs etc.) have long orchestral introductions, so that your exceedingly generous 30 seconds of music often does not allow one to hear the VOCALIST!!!
If you do desire to sell classical vocal cds, why don't you do the smart thing and select that 30 seconds somewhere within the piece, so that one might more readily hear the VOCALIST and not 30 seconds of intro music. I doubt very much that you will listen to or act upon my suggestions as there is nothing more stubborn or resistant to change as stupidity.

Will my written word be able to say what is in my heart? This CD is a stunning experience of the alchemy of Bach and voice. Lieberson is all about the expressiveness of the line and allows the grace and beauty of the music to float on her voice. I was moved to a sort of frozen bliss when I first listened to this, perhaps the most profound musical experience I have had for months. In our world of overproduced discs wringing reaction from our overtaxed attention, this quiet and amazing performance of these extraordinary cantatas is the balm to shattered nerves.

I admit to being a novice at hearing a lot of classical vocal music. I do listen to operas and I quite enjoy a lot of Bach - he is my favorite composer. I have heard of Lieberson a lot over the past few years. Last week, I stayed as a guest in a house where this cd was playing and I felt my whole spirit rise up. The musical selections are truly sublime and Ms Lieberson's voice is so magical. I enjoyed listening to it in perfect silence so that each note was audible and appreciated. It's truly a masterpiece. Thank goodness that music of this quality is still produced and out there. Thanks to the great master Johann and to the ethereal and talented Lorraine Hunt Lieberson.

Bach is God, and Lorraine Hunt Leiberson reveals Him. The purity of her line, the ardor of her phrasing, the total devotion to the music, the willingness to walk the line between insanity and humility (yes, there is such a line)- these are what make Hunt Leiberson the perfect channel for Bach. No one since Dame Janet Baker has understood so deeply, has inhabitated so fully the pulsing heart of Bach's humanity as well as his religiosity. While dancing in the Mark Morris Dance Group I had the priviledge of dancing to her singing (of Handel, as it happens in this instance), one of the high points of my career, a memory I cherish. And now through this CD we all can appreciate the heartfelt depth of her expression, the beautiful legato, the giving way to emotion that, in its restraint, is even more devastating. She is one of the best singers alive today.

My appreciation of the infinite musical genius of Bach only gains from hearing him interpreted by different artists. I already owned two formidable accounts of cantata 82, one from the great tenor Ian Bostridge in his debut disc, the other from a great bass (the work was originally written for a bass soloist) John Shirley-Quirk. Shirley-Quirk's performance dates from 1965, but he performs with the Academy of St Martin's under Marriner, and they were already committed to an `authentic' style in Bach and Handel. The authentic movement rapidly became `still more authentic' in the hands of, say, McCreesh, but Bostridge and Europa Galante in 2000, and now Hunt Lieberson with her Boston associates two years later, have settled for much the same style as Marriner's. She thus faces formidable competition (if that is any way to look at the matter), but the comparisons only invite gratitude and applause for the special excellence that each exhibits.

One thing that gives this disc a special appeal for me is that the instrumentalists are apparently freelancers. They are totally professional, but the professionalism manages to be combined with the special sense of enthusiasm that I associate more with good amateur music-making, a feeling of individuals coming together to make music together rather than the atmosphere of a band with contracts of tenure. The lengthy and garrulous liner-note tells us all about it, as well as much else. Lieberson's tempi are rather faster than those in the other sets, and the engineers have given her a more forward balance. No complaints from me, not when it is a voice like this. For exquisite vocal sound may I recommend in particular her low notes on `Schlummert ein' and the heavenly treatment of the imperfect cadence (a technical term of course) at `selig zu'.

I have no other account of cantata 199, an earlier work and not quite the equal of its great companion here. That makes this one all the more welcome, and the performance is fully on a par with the other. One interesting point is that the chorale is sung by Lieberson on her own, but as you might expect that gives me no kind of problem. This music is all radiant with Bach's perception of death as a gateway to final fulfilment, and it would be a very dull sort of atheist who can't sense and share the sheer transcendental greatness of the inspiration.

The recorded sound is just fine by me, provided there is no objection to the forward recording of the soloist, which is not overdone in the old manner by any means. The liner note is nothing if not informative, and I urge you to get through it to the end, with the help of a drink if necessary. Bach would not mind that in the least, if certain anecdotes about him are to be believed. Above all, this disc has brought the voice and musicianship of Lorraine Hunt Lieberson into my collection and into my home for the first time, and for that Wie freudig ist mein Herz.

Thomas Frey's review makes a very important point which amazon.com should take to heart. I've experienced the same thing many times, and it's damned irritating. I'm sure amazon customers would appreciate wiser consideration in the matter.

Grady Harp says perfectly everything that must be said about Lieberson and this recording. I would only add that listening to Lorraine Hunt Lieberson sing "Ich habe genug" reminds me vividly of listening to Solesmes' aged Dom Gajard sing the part of Jesus in the Abbey's recording of the Good Friday liturgy. Both occasions are born of a transfixion that transcends music and its performance. An imposing spiritual source is immediately and irrevocably present, and seems increased after the musical experience itself. Fortunately for all of us, in this recording Lieberson teaches us the god Bach is and serves him with a miraculous art.

This is simply one of the most beautiful, heart rending performances captured from any studio by any artist at any time. Too many superlatives? Give it a listen.

Nearly everyone I've played this for has had the same reaction. A tightening of the face, narrowing of the eyes and a connection between heart and head that is almost disconcerting. Mrs. Hunt Lieberson goes to the very soul of Bach's profound music, finds every nuance and without eschewing her formidable technique, lets loose in this music which has rarely been sung this beautifully with a seemingly inherent understanding and of each works richness and complexity. This is a singer born to sing this music.

This and Hunt Lieberson's Handel albums are THE must have discs of 2004.

This lady can sing. She has a vocal production which allows her to reach into every color and nuance that her voice possesses and for the enhancement of the text. After all, that is what makes a singer different from other instruments. "Ich habe genug" is beautifully sung and realized in the Baroque style. Even more thrilling is "Mein Herze schwimmt im Blut" in which she uses her voice to proclaim the agonizing textual requirements. I presume the Baroque ensemble, directed by Craig Smith who is a fine conductor, was a "pick-up" group. They accompanied her with beauty and attention to the style. The acoustics of Emmanuel Church in Boston gave much acoustical enhancement to the performances.
Having not heard Ms. Hunt Lieberson before, this CD was truly a wonderful experience. The only drawback was not being able to glean her background because the focus of the bio notes was on Peter Sellars "eccentric" staging of these two cantatas for her. It sounded Sellars and tacky.I look forward to exploring more of her intelligent and introspective work.

Lorraine Hunt Lieberson brings such warmth and passion to these two Bach Cantatas. Her mezzo is exquisitely beautiful, at once precise and clear, but with such inner depth and color. This album immediately went to the top of my favorites list!