Anne Sofie von Otter; Concerto Copenhagen / Lars Ulrik Mortensen
Johann Sebastian Bach (1685 - 1750): Cantata No.54: "Widerstehe doch der Sünde", BWV54; Cantata, BWV 197 "Gott ist unsere Zuversicht" Aria: Schläfert aller Sorgen Kummer; Cantata, BWV99 Aria-Duet: Wenn des Kreuzes Bitterkeiten; St. Matthew Passion, BWV 244 Part Two No.47 Aria (Alto): "Erbarme dich, mein Gott"; Cantata No.30 "Freue dich, erlöste Schar", BWV 30, Aria: Kommt, ihr angefocht'nen Sünder; Cantata No.35 "Geist und Seele wird verwirret", BWV 35, Sinfonia; Cantata: "Wer mich liebet, der wird mein Wort halten" BWV 74, Aria: Nichts kann mich erretten; Weinen, Klagen, Sorgen, Zagen Cantata, BWV 12, Sinfonia; Mass in B minor, BWV 232, Kyrie: No.1 Kyrie eleison Agnus Dei; Magnificat in D Major, BWV 243
Aria (Duet): "Et misericordia"; Cantata, BWV 60 "O Ewigkeit, du Donnerwort", Duett: O Ewigkeit, du Donnerwort / Herr, ich warte; Cantata, BWV117, Sei Lob und Ehr dem höchsten Gut
Wholenote Discoveries - June 2009
First loves are hard to live down – the memories linger and grow more beautiful with time, yet when confronted with reality they often seem puzzling. Such is the case with this recording. J. S. Bach’s music was the first love and first repertoire tackled by the young and promising and at that time completely unknown Swedish soprano, Anna Sofie von Otter. Now, years later, the promise borne out by a great career and international fame, von Otter returns to Bach – with mixed results. To be sure, Bach has not changed (beautifully played here by Concerto Copenhagen) – von Otter has. This extremely talented and versatile mezzo has travelled very different musical grounds over the years. So different, in fact, that the precise and unyielding music of the Baroque master, especially in the excerpts from the cantatas, presents an unexpected hurdle for von Otter. Her phrasing betrays her many years spent not singing the music of the Baroque. And yet, even in this suddenly unfamiliar territory, the beauty of her voice shines in the Magnificat, the Mass in B minor and the St. Matthew Passion. That last one was the music of her original breakthrough, a solo concert in Stockholm years ago. Listening to these parts of the album, one easily understands and appreciates the allure of the first love. Robert Tomas
Anne Sofie Von Otter's first solo album devoted to Bach, one of this celebrated mezzo's earliest and greatest loves.
Her personal selection from the cantatas, St. Matthew Passion, Magnificat, and B minor.