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J. F. Weber
Fanfare, May 2018

Michael Volle has sung many cantatas in the complete sets of Gardiner, Koopman, and Suzuki, but never these solo works. The coupling of Ich habe genug and Ich will den Kreuzstab has always been the most common pair of Bach’s church cantatas, and since the CD era Der Friede sei mit dir (placed in the middle here) has regularly been added to fill the discs. The addition of a sinfonia from another cantata before each of the three main works not only serves to fill out the disc but neatly separates the three main works, since none of them has an opening sinfonia. The layout of the disc is effective, for each sinfonia leads into a cantata, and the masterly closing chorale of BWV 56 provides a satisfying climax. © 2018 Fanfare Read complete review

William R. Braun
Opera News, April 2018

Michael Volle is an intelligent artist. …Volle is most comfortable in the accompanied recitative of Cantata 56, in which he can manage his voice more helpfully than in arias, but ultimately the listener becomes more interested in the way Bach found new forms for each cantata than in the performances themselves. © 2018 Opera News Read complete review

Huntley Dent
Fanfare, March 2018

BACH, J.S.: Cantatas (Bass) - BWV 56 and 82 / Oboe d'amore Concerto, BWV 1055 (Goerne, Arfken, Freiburg Baroque Orchestra, Goltz) HMM902323
BACH, J.S.: Cantatas for Bass - BWV 56, 82 and 158 (Volle, R. Johannsen, RIAS Chamber Chorus, Berlin Akademie für Alte Musik, Alpermann) ACC-30410

…my preference goes to Michael Volle’s singing, because it is more agile and less weighty than Goerne’s, who in truth would fit securely in very old-fashioned Bach performances cloaked in religiosity. …Volle and Goerne vied as Wotan last year in two recordings of Das Rheingold under Simon Rattle and Jaap van Zweden, where one could barely slip a straw between them. But here Volle’s lightened tone, his simple expression of personal faith, and his easier trills and appoggiaturas place him ahead. © 2018 Fanfare Read complete review

William J Gatens
American Record Guide, March 2018

The principal soloist is baritone Michael Volle, whose operatic credentials are extensive. I would not describe his voice as mellifluously smooth, but it is a finely tuned instrument that is solid yet capable of eloquent tenderness, as in the aria ‘Schlummert ein’ from 82. The Berlin Academy for Early Music gives us a polished period instrument sound that has a chamber like intimacy even in the more fully scored movements. © 2018 American Record Guide Read complete review on American Record Guide

Alain Steffen
Pizzicato, November 2017

In these performances, Michael Volle’s outstanding voice, the excellent playing by the Akademie für Alte Musik Berlin and a beautiful sound recording perfectly match and ensure an exceptional musical experience. © 2017 Pizzicato

Jonathan Freeman-Attwood
Gramophone, November 2017

Michael Volle is nothing if not involved and his carefully declaimed singing projects an often effective didactic approach—a facet which signposts the listener through Ich habe genug and is wonderfully underscored by the evocative oboe-playing of Xenia Löffler, and the secure, unobtrusive playing of the Akademie für Alte Musik Berlin. © 2017 Gramophone Read complete review on Gramophone

Curtis Rogers, October 2017

Throughout his accounts of the Cantatas, Volle maintains introspective poise and quiet determination… Volle’s approach generally tends to be persuasive in a quiet, direct fashion, evoking Lutheran devotion, rather than mystical fervour; the final number of ‘Ich habe genug’ does not take off with any particular flight of joy to match the words, but the understated seriousness of Volle’s purpose remains compelling.

Volle’s manner provides a good foil to the more contrasting contributions of the other performers, from the plangent contribution enunciated by Robin Johannsen in BWV158, the wiry lustre of the violin solo in the same Cantata, like that which gilds the ‘Laudamus te’ of the B-minor Mass, and the almost lilting chorale offered by the dozen members of the RIAS Kammerchoir at the end of BWV56. Even the steady flow of BWV82’s celebrated ‘Schlümmert ein’ is supported with a slight lift to the continuo line, and some discreetly animated decoration by Alpermann on the organ. © 2017 Read complete review

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