Birgitte Christensen

Image by Josef-Stefan Kindler, www.kuk-art.com. All rights reserved.
Birgitte Christensen
Soprano Vocals

Christensen was born in 1972 in Norway. She concluded her vocal training in 1997 at the state conservatory in Oslo. In November 1998 she made her extremely successful debut at the Norwegian National Opera as the Queen of the Night and was distinguished with the prestigious Esso award for outstanding opera performances. Since December 1999 she has been engaged by the Innsbruck Theatre where she has sung the main role in Händel's Partenope, Liu in Turandot and the Queen of the Night. In June 2000, she received a grant for her part in Partenope and was awarded the Eberhard Wächter medal.
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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