Composer: Johann Sebastian Bach
Works: Christmas Oratorio
Performers: Claron McFadden, soprano; Bernarda Fink, alto; Christoph Genz, tenor; Dietrich Henschel, bass; Monteverdi Choir; English Baroque Soloists, John Eliot Gardiner
Recording: 23 & 27 December, 1999, Herderkirche, Weimar, Germany
Label: TDK DVD-BACHHO
Bach’s Christmas Oratorio, composed for the 1734-1735 Christmas celebration in Leipzig, is a work that transcends its liturgical origins, embodying the joyous spirit of the season through a series of six cantatas. While traditionally referred to as an oratorio, its structure is more akin to that of a cycle of cantatas, each part intended for a specific feast day within the Christmas period. Gardiner’s interpretation, captured in this compelling DVD recording, reflects his deep understanding of Bach’s intentions, as well as his commitment to historically informed performance practices.
The performance is characterized by its intimate forces; Gardiner employs a relatively small choir of around twenty singers, complemented by about a dozen instrumentalists. This choice creates a transparency and clarity that stands in stark contrast to many large-scale renditions that often drown the music in a sea of sound. The orchestral playing is crisp and articulate, with oboist Marcel Poncelle’s contributions particularly noteworthy; his lines in “Jauchzet, frohlocket” are delivered with an exuberance that encapsulates the festive spirit of the work. Gardiner’s decision to balance the orchestral and choral forces allows for a nuanced interplay between the two, resulting in a rich tapestry of sound that is both grand and intimate.
The soloists bring a variety of expressive qualities to their roles. Bernarda Fink shines in her expansive aria “Schlafe, mein liebster,” where her voice exhibits a remarkable purity and warmth. The long phrases are delivered with a sensitivity that captures the lullaby-like essence of the text. Christoph Genz, serving as the Evangelist, showcases his exceptional command over both arias and recitatives, seamlessly weaving narrative and reflection with an engaging stage presence. Claron McFadden’s contributions, though limited, are executed with grace, highlighting the lyrical beauty of her lines, even if one wishes for a more commanding role in the context of the overall work. Dietrich Henschel’s bass, while somewhat relegated in terms of prominence, still exudes authority and depth, particularly in the arias where he articulates the text with clarity.
From a technical standpoint, the recording quality is exemplary. The audio engineering captures the subtleties of the performance, allowing each voice and instrument to resonate clearly within the acoustic of the Herderkirche. The balance between the orchestra and choir is finely calibrated, ensuring that the choir does not overpower the soloists, an issue that can plague larger ensembles. The visual presentation enhances the experience, with the camera work thoughtfully focusing on the performers, thereby inviting the viewer into the emotional landscape of the music.
Gardiner’s interpretation of the Christmas Oratorio stands as a benchmark against which other recordings can be measured. His ability to maintain an authentic Baroque sensibility while engaging with the text and subtext of Bach’s music is remarkable. The performance is imbued with a palpable reverence for the work’s spiritual dimensions, coupled with an infectious joy that is essential to its character. The inclusion of a documentary provides insightful context, illustrating Gardiner’s dedication to Bach’s music and the collaborative spirit of his musicians.
This recording of Bach’s Christmas Oratorio not only offers a splendid musical experience but also serves as an inspiring testament to the power of Bach’s vision. Gardiner’s thoughtful and meticulous approach, combined with the exceptional caliber of his performers, results in a performance that resonates deeply, making it a compelling choice for both newcomers to Bach’s music and seasoned aficionados alike.
