“Excellently recorded - this is quite simply a life-enhancing disc.” --BBC Music Magazine, May 2014 *****
“Miriam Feuersinger’s effortlessly enunciated singing (not to mention the breathing clarity of her high notes) is perfectly partnered here by a one-to-a-part ensemble.” --Early Music Review, April 2014
“Angst und Jammer, Qual und Trubsal is a major discovery … The disc’s first half sets the bar very high … well worth investigating.” --International Record Review, May 2014
“Miriam Feuersinger’s effortlessly enunciated singing (not to mention the breathing clarity of her high notes) is perfectly partnered here by a one-to-a-part ensemble.” --Early Music Review, April 2014
“Angst und Jammer, Qual und Trubsal is a major discovery … The disc’s first half sets the bar very high … well worth investigating.” --International Record Review, May 2014
Miriam Feuersinger (soprano) & Peter Barczi (violin, direction) with guest Xenia Löffler (Baroque oboe)
Capricornus Consort Basel
The young Austrian soprano Miriam Feuersinger presents her debut CD accompanied by the Capricornus Consort Basel with a selection of several cantatas by the Kapellmeister at the Darmstadt court. With the agreeable timbre of her easily appealing voice, she succeeds wonderfully in recreating the appropriate tone of Graupner's sensuous cantata style. As with those of Bach, the cantatas of Graupner aim to stir the listener, but without sacrificing intellectual elegance or even the composure fitting for a predominantly courtly community. Unlike the confidently catchy Telemann, Graupner prefers a refined and subtle elaboration that audibly reckons with skilful interpreters and always seeks to move the listener. Despite all these advantages, the discographical exploration of Graupner's over 1400 cantatas has only just begun.
Capricornus Consort Basel
The young Austrian soprano Miriam Feuersinger presents her debut CD accompanied by the Capricornus Consort Basel with a selection of several cantatas by the Kapellmeister at the Darmstadt court. With the agreeable timbre of her easily appealing voice, she succeeds wonderfully in recreating the appropriate tone of Graupner's sensuous cantata style. As with those of Bach, the cantatas of Graupner aim to stir the listener, but without sacrificing intellectual elegance or even the composure fitting for a predominantly courtly community. Unlike the confidently catchy Telemann, Graupner prefers a refined and subtle elaboration that audibly reckons with skilful interpreters and always seeks to move the listener. Despite all these advantages, the discographical exploration of Graupner's over 1400 cantatas has only just begun.
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