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Paul Riley
BBC Music Magazine, November 2019

BACH, J.S.: Mass in B Minor (Landshamer, Kulman, Lattke, Pisaroni, Dresden Chamber Choir, Leipzig Gewandhaus Orchestra, Blomstedt) (NTSC) ACC-20415
BACH, J.S.: Mass in B Minor (Landshamer, Kulman, Lattke, Pisaroni, Dresden Chamber Choir, Leipzig Gewandhaus Orchestra, Blomstedt) (Blu-ray, Full-HD) ACC-10415

…Blomstedt is never bent on point-scoring didacticism. His is a truthful account; prayerful, reverential, intent on welding the disparate movements into a caressing, over-arching entity. The opening of the Credo professes a private faith rather than an expression of the church militant, and a silkily ethereal ‘Et Incarnatus’ yields to a ‘Crucifixus’ that’s unexpectedly serene, avuncular even—though Blomstedt’s scrupulous calibration of the Mass’s final chorus engineers a blaze of magisterial, hope-filled trust. Among the soloists Christina Landshamer and Elisabeth Kulman enthral. © 2019 BBC Music Magazine Read complete review



Peter Quantrill
Gramophone, February 2018

BACH, J.S.: Mass in B Minor (Landshamer, Kulman, Lattke, Pisaroni, Dresden Chamber Choir, Leipzig Gewandhaus Orchestra, Blomstedt) (NTSC) ACC-20415
BACH, J.S.: Mass in B Minor (Landshamer, Kulman, Lattke, Pisaroni, Dresden Chamber Choir, Leipzig Gewandhaus Orchestra, Blomstedt) (Blu-ray, Full-HD) ACC-10415

Without getting caught up in the hustle and bustle of Chailly’s Bach in Leipzig, Blomstedt lays a light, smooth plaster over the stylistic distinctions between each movement of the Missa proper: what should be the free-flowing, contemporary Italianate imitation of the ‘Christe’, for instance, and the planed stile antico of the second ‘Kyrie’.

…Christine Landshamer brings smiling grace to the ‘Domine Deus’ and dovetails nicely with Wolfram Lattke, but the phrases are neatly chopped into bouncy four-bar segments and once you hear the regular stress of the first beat of every bar it can be hard to ignore. Best of the soloists is Elisabeth Kulman, whose refined breadth of line and lightly worn dignity raises her contributions to another level. When Landshamer joins her for ‘Et in unum Dominum’ the performance begins to take on the persuasive force of the 2001 film, which Blomstedt then sustains throughout the choral triptych at the heart of the Mass. With an Agnus Dei of simple, unforced beauty, Kulman sets the seal on an account of solid virtues but intermittent insights. © 2018 Gramophone Read complete review on Gramophone





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