Stefan Vinke

Image by Josef-Stefan Kindler, www.kuk-art.com. All rights reserved.
Stefan Vinke
Tenor Vocals

Stefan Vinke was born in Osnabrück and studied song with the court singer Edda Moser in Cologne, and with Eugene Kohn. The accomplished church musician received his first engagement at the Karlsruhe State Theatre of Baden in 1993. He sang for two seasons here before switching to the Krefeld-Mönchengladbach Theatre. Jun Märkl engaged Stefan Vinke for the 1999/2000 season as the 1st youth heroic tenor at Mannheim's National Theatre. In the new Ring, Stefan Vinke sings the role of Siegmund, followed by Lohengrin, Parsifal, Florestan and Tristan.
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

German Oratorio in Four Parts,
performed by Peter Lika (Bass),
Birgitte Christensen (Soprano), Stefan Vinke (Tenor),
the Maulbronn Cantor Choir (Kantorei Maulbronn)
and the Russian Chamber Philharmonic St. Petersburg
Conductor: Jürgen Budday

A live recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery

HD Recording · DDD · Double Album · c. 120 Minutes

2 CD
EUR 33,00

Maulbronn Monastery Edition

Edition Kloster Maulbronn

SpotifyDeezerNapsterYouTube MusicApple MusicAmazon.com MusicTidalPrimephoniciTunesAmazon.comPresto 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

German Oratorio Op. 67 in Four Parts,
performed by Peter Lika (Bass), Birgitte Christensen (Soprano),
Stefan Vinke (Tenor), the Maulbronn Cantor Choir (Kantorei Maulbronn)
and the Russian Chamber Philharmonic St. Petersburg
Conductor: Jürgen Budday

A live recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery

HD Recording · DDD · Duration: 120 Min. 55 Sec.
Digital Double Album · 15 Tracks

MP3

MP3 Album

320 kBit/sec.

EUR 19,80

Maulbronn Monastery Edition

Edition Kloster Maulbronn

SpotifyDeezerNapsterYouTube MusicApple MusicNaxos Music LibraryAmazon.com MusicTidalAmazon.comiTunesQobuz HDPresto Music HDeClassical 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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