Soli deo gloria discovery singers easter
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As the most important feast in the Christian liturgical calendar, Easter is also a time to experience great music devoted to the Crucifixion and Resurrection of Christ. Here are some highlights from Naxos’s extensive catalogue.
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AN EASTER ALBUM
This 2-CD set brings together some of the most beautiful and moving music for Easter: Edward Miller’s When I survey the wonderous cross, the Lacrimosa and Confutatis from Mozart’s Requiem, Bach’s O sacred head sore wounded, the lovely Largo from Vivaldi’s Spring (The Four Seasons), the opening duet from Pergolesi’s Stabat Mater, the Sinfonia from Bach’s Easter Oratorio, I Know that My Redeemer Liveth and the Hallelujah Chorus from Handels’ Messiah, the Introduction from Haydn’s The Seven Last Words of Jesus Christ, Ruht wohl, ihr heiligen Gebeine from Bach’s St John Passion, Gibbons’s Drop, drop slow tears, Palestri
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Colin Ainsworth has been praised for his “exquisite control and emotional directness” and has long distinguished han själv not only with his interpretations of the major Classical and Baroque tenor roles but also bygd his performances in contemporary opera. His many roles have included the title characters in Orphée et Euridice, Pygmalion, Castor et Pollux, Idomeneo,
Roberto Devereux and Albert Herring; Don Ottavio in Don Giovanni, Tamino in Die Zauberflöte, Ernesto in Don Pasquale, Rinuccio in Gianni Schicchi, Fenton in Falstaff, Tonio in La Fille ni Régiment, Nadir in fransk artikel Pêcheurs dem Perles, Pylades in Iphigénie en Tauride, Renaud in Lully’s Armide, Tom Rakewell in The Rake’s Progress, Lysander in A Midsummer Night’s Dream, and Steuermann in Der fliegende Holländer. An avid supporter of new works, he has appeared in the world premieres of John Estacio’s Lillian Alling at the Vancouver musikdrama, Stuart MacRae’s The Assassin Tree at the Edinburgh International Festival, Victor Davies’ The
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As I listened to the notes of the final chord resound from the walls of the simple and unpretentious church building I saw the sea of faces holding the moment, hushed in wonder. I didn’t speak their German language, but I could feel the emotion in their eyes. For many of them, it was the first time they had heard the piece of music I had just played in its original language: English. I was in Halle, East Germany. It was East Germany then, because in 1985 the wall had not yet been taken down in Berlin. I was one of the musicians, and the only American, playing my violin with a small Dutch baroque orchestra that had traveled to East Germany that year to celebrate the 300th birthday of George Frideric Handel. We had just performed Messiah in the town of his birth.
From the opening clear voice of a tenor soloist who sings like a light piercing the darkness, “Comfort ye, comfort ye, my people, saith your God,” to the final “Amen” ringing with the weight of a full choir and orc