Paul Esswood Vidéos
contre-ténor
- contreténor
- Royaume-Uni
- artiste lyrique, chef ou cheffe d'orchestre
Dernière mise à jour
2024-04-27
Actualiser
Marc Antoine Charpentier Jolanta Kowalska Pawlikowska Paul Esswood
Marc-Antoine Charpentier - Te Deum Jolanta Kowalska-Pawlikowska - sopran, Paul Esswood - director Capella Thoruniensis
Johann Sebastian Bach Nikolaus Harnoncourt Paul Esswood Kurt Equiluz Schmidt Schmidt Gaden Concentus Musicus Wien 1631 1685 1725 1750 1977
Johann Sebastian Bach +••.••(...)) Cantata BWV 87: Bisher habt ihr nichts gebeten in meinem Namen (6 May 1725) 1. Bisher habt ihr nichts gebeten in meinem Namen (Aria: B) 2. O Wort, das Geist und Seel' erschreckt! (Recitative: A) 01:42 3. Vergib, o Vater, unsre Schuld (Aria: A) 02:13 4. Wenn unsre Schuld bis an den Himmel steigt (Recitative: T) 09:47 5. In der Welt habt ihr Angst (Aria: B) 10:33 6. Ich will leiden, ich will schweigen (Aria: T) 12:21 7. Muss ich sein betrübet? (Chorale) 16:31 Soloists: Alto: Paul Esswood Tenor: Kurt Equiluz Bass: Ruud van der Meer Performed by the Tölzer Knabenchor (Chorus Master: Gerhard Schmidt-Gaden) & Concentus Musicus Wien under the direction of Nikolaus Harnoncourt. Recorded by Teldec in 1977. "Bisher habt ihr nichts gebeten in meinem Namen (BWV 87), intended for Rogation Sunday and composed in 1725, instead of dealing with the consoling aspects of the Sunday Gospel, refers to its dark and menacing traits, the guilt and fears of mankind. The composition is correspondingly grave, seeming in parts almost apocalyptic, with the keys of D, G, and C minor dominating (only the tenor aria being in B flat major). As in BWV 85 and 86, the words of Christ are set arioso, entirely polyphonically; however, the style is not archaic and motet-like but rather in the completely free form of an instrumental quartet movement, into which the bass pours his threatening pronouncements with constantly and ever differently composed repetitions. A brief but uncommonly agitated recitative provides the transition to the contralto aria, in which the dark sound of two oboes da caccia combine their insistence on the 'Vergib' (forgive) motif of the vocal part and the ostinato pleading gestures in the thoroughbass to produce a gloomy picture of the conditio humana (which certainly goes beyond the intention of the text). The tenor arioso intensifies this attitude to a cry of utmost distress, which is arranged with extreme vocal and harmonic means. This is answered by the second word of Christ, again as arioso, but accompanied only by the thoroughbass, whose ostinato adherence to the main motif ('In der Welt habt ihr Angst') seems also to allude to the second half of the text, to the price of mankind's redemption, Christ's sacrificial death. The reply of the faithful Christians provided by the tenor aria again considerably exceeds what is intended by the text. Bach does not compose joyful surrender to suffering, but a fervent suffering of almost sensual directness, in a siciliano of bewitching tonal attraction, whose seventh chord harmony and whose 'altered' melody in many senses act like a greeting reaching deeply into the 19th century. In the rich harmonisation of the concluding chorus something still seems to linger on of the excitement of this piece, which even by Bach's standards is extraordinary." - Ludwig Finscher Painting: Winterlandschaft mit Kirche - Caspar David Friedrich
Johann Sebastian Bach Zorn Paul Esswood Philippe Herreweghe Gustav Leonhardt Knabenchor Hannover Collegium Vocale Gent Leonhardt Consort 1685 1723 1750 1978
Jean-Sébastien Bach - Johann Sebastian Bach +••.••(...)) Cantate - Kantate - Cantata BWV 89 - Was soll ich aus dir machen, Ephraim? 22ème dimanche après la Trinité 22. Sonntag nach Trinitatis 22nd Sunday after Trinity Première audition - Uraufführung - First perfomance Leipzig - 24.10.1723 00:00 1. Aria (Basse) Was soll ich aus dir machen, Ephraim? 04:28 2. Récitatif (Alto) Ja, freilich sollte Gott 05:11 3. Aria (Alto) Ein unbarmherziges Gerichte 07:46 4. Récitatif (Soprano) Wohlan! mein Herze legt Zorn 08:54 5. Aria (Soprano) Gerechter Gott, ach, rechnest du? 11:47 6. Choral Mir mangelt zwar sehr viel Soprano - Sopran - Soprano Marcus Klein (Knabenchor Hannover) Alto - Alt - Alto Paul Esswood Basse - Baß - Bass Max van Egmond Knabenchor Hannover - Heinz Hennig Collegium Vocale Gent - Philippe Herreweghe Leonhardt-Consort - Gustav Leonhardt Texte et Traduction - Text und Übersetzung - Text and Translation (http•••) (http•••) Enregistrement - Aufnahme - Recording (1978) (http•••) (http•••) Peinture - Gemälde - Painting La Destruction de Sodome et Gomorrhe (John Martin)
Renate Lenhart Claudio Monteverdi Ponnelle Rachel Yakar Trudeliese Schmidt Schmidt Tappy Paul Esswood Matti Salminen Janet Perry Philippe Huttenlocher Hartmann Peter Straka Fritz Peter Francisco Araiza Nikolaus Harnoncourt
Claudio Monteverdi. L'Incoronazione di Poppea. Jean-Pierre Ponnelle. La Fortuna - Renate Lenhart La Virtù - Helrun Gardow Amore - Klaus Brettschneider Poppea - Rachel Yakar Ottavia - Trudeliese Schmidt Nerone - Eric Tappy Ottone - Paul Esswood Seneca - Matti Salminen Drusilla – Janet Perry Arnalta – Alexander Oliver Nutrice – Maria Minetto Lucano – Philippe Huttenlocher Valletto – Peter Keller Damigella – Suzanne Calabro Liberto – Rudolf A.Hartmann Due soldati – Peter Straka, Fritz Peter Famigliari – Francisco Araiza, Werner Gröschel Di Seneca – Peter Keller Das Monteverdi-Ensemble Des Operhauses Zürich Conductor - Nikolaus Harnoncourt
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