Birgitte Christensen

Birgitte Christensen
Sopran

Birgitte Christensen wurde 1972 in Norwegen geboren. Ihr Gesangsstudium schloss sie 1997 an der Staatlichen Musikhochschule in Oslo ab. Im November 1998 gab sie ihr überaus erfolgreiches Debüt an der Norwegischen National Oper als Königin der Nacht und wurde mit dem begehrten Esso-Award für hervorragende Leistungen in der Oper ausgezeichnet. Seit Dezember 1999 ist die Künstlerin am Innsbrucker Theater engagiert. Hier sang sie u.a. die Titelpartie in Händels Partenope, Liu in Turandot und die Königin der Nacht. Im Juni 2000 erhielt sie für die Partenope einen Förderpreis und die Eberhard Wächter Medaille.
Max Bruch · MosesMax Bruch · Moses
Max Bruch · MosesMax Bruch · Moses
Max Bruch · MosesMax Bruch · Moses
Max Bruch (1838-1920):
M O S E S

Op. 67

Oratorium in vier Teilen und deutscher Sprache
mit Peter Lika, Birgitte Christensen,
Stefan Vinke, der Kantorei Maulbronn
und der Russischen Kammerphilharmonie St. Petersburg
Künstlerische Leitung: Jürgen Budday

Ein Konzertmitschnitt aus der Kirche des
UNESCO-Weltkulturerbes Kloster Maulbronn

HD-Aufnahme · DDD · Doppel-Album · ca. 120 Minuten

2 CD
EUR 33,00

Maulbronn Monastery Edition

Edition Kloster Maulbronn

SpotifyDeezerNapsterYouTube MusicApple MusicAmazon.de MusicTidalPrimephonicAmazon.deiTunesPresto Classical HDeClassical HDQobuz HDHD TracksReview

An excellent project and a grandiose Performance

K&K is not a label that comes readily to mind, but after listening to this version of Bruch's Oratorio, it is certainly one that should be given more scrutiny. German based, it is totally devoted to publishing outstanding concerts of mostly sacred works recorded live in the natural ambience of Maulbronn Monastery.
The aim of all this is to make the listener experience the intensity, not only of the music but of the occasion as well. Bruch's 'Moses', premiered in January 1895, is a truly eloquent and uplifting piece very much in the 'Elijah' tradition although I found the choral writing a hint Mendelssohnian. Apparently, Brahms did not think very highly of it but Bruch revealed that it was the fruit of inner strength that enabled him to complete this work.
I enjoyed the work immensely notwithstanding Brahms' advice and found much to savour in the memorable tunes that permeate the solo numbers with Moses' death particularly moving. Both soloists and choir rise magnificently to the occasion, delivering performances that are grandiose yet saturated with a humanity that was so evident in Israel's rapport with God. The Russian Chamber Philharmonic play full bloodedly and with conviction under Jurgen Budday, who while keeping a tight reign on proceedings, allows the performance to flow with a natural ease.
An excellent project that deserves every plaudit for its unique Enterprise.

Gerald Fenech on Classical Net

Max Bruch · MosesMax Bruch · Moses
Max Bruch (1838-1920):
M O S E S

Oratorium Op. 67 in Vier Teilen mit Peter Lika (Bass),
Birgitte Christensen (Sopran), Stefan Vinke (Tenor),
der Kantorei Maulbronn und der Russischen Kammerphilharmonie St. Petersburg
Künstlerische Leitung: Jürgen Budday

Ein Konzertmitschnitt aus der Kirche des UNESCO-Weltkulturerbes Kloster Maulbronn

HD-Aufnahme · DDD · Spielzeit: 120 Min. 55 Sek.
Digitales Album · 15 Tracks

MP3

MP3 Album

320 kBit/sec.

EUR 19,80

Maulbronn Monastery Edition

Edition Kloster Maulbronn

SpotifyDeezerNapsterYouTube MusicApple MusicNaxos Music LibraryAmazon.de MusicTidalAmazon.deiTuneseClassical HDPresto Music HDQobuz HDHD TracksE-Onkyo HDReview

An excellent project and a grandiose Performance

K&K is not a label that comes readily to mind, but after listening to this version of Bruch's Oratorio, it is certainly one that should be given more scrutiny. German based, it is totally devoted to publishing outstanding concerts of mostly sacred works recorded live in the natural ambience of Maulbronn Monastery.
The aim of all this is to make the listener experience the intensity, not only of the music but of the occasion as well. Bruch's 'Moses', premiered in January 1895, is a truly eloquent and uplifting piece very much in the 'Elijah' tradition although I found the choral writing a hint Mendelssohnian. Apparently, Brahms did not think very highly of it but Bruch revealed that it was the fruit of inner strength that enabled him to complete this work.
I enjoyed the work immensely notwithstanding Brahms' advice and found much to savour in the memorable tunes that permeate the solo numbers with Moses' death particularly moving. Both soloists and choir rise magnificently to the occasion, delivering performances that are grandiose yet saturated with a humanity that was so evident in Israel's rapport with God. The Russian Chamber Philharmonic play full bloodedly and with conviction under Jurgen Budday, who while keeping a tight reign on proceedings, allows the performance to flow with a natural ease.
An excellent project that deserves every plaudit for its unique Enterprise.

Gerald Fenech on Classical Net

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courtesy of webmatter.de

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