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Product Description
C0070. ST. MATTHEW PASSION (MATTHÄUSPASSION) (Abridged, as recorded, [in English]), recorded 1962, w.Leonard Bernstein Cond. NYPO, The Collegiate Chorale & Boys' Choir of The Church of the Transfiguration; Adele Addison, Betty Allen, David Lloyd, Charles Bressler, William Wilderman & Donald Bell. 2-Sony SM2K60727. Long out-of-print, Final Sealed Copy! - 074646072721
CRITIC REVIEWS:
“There is much to admire here. The soloists are an excellent group. The quick vibrato in Lloyd's voice makes him a distinctive Evangelist, and he is an excitable participant in this story of Christ's crucifixion. Wildermann also has an unusual but not unpleasant voice, the sort that immediately attracts one's attention. It would be hard not to be involved with his very human Christ. Addison and Allen sing their solos with dignity and face; Allen's mezzo was a particularly rich and steady instrument at this early stage in her career. The choir alternates dramatic involvement in the turbae with devout purity in the chorales. In 1962, the musicians of the New York Philharmonic included concertmaster John Corigliano, flutist John Wummer, and oboist Harold Gomberg. Each of these gentlemen makes significant contributions to this recording. Finally, Bernstein treats the music tenderly, but he also treats it as a living thing; if this venture has little about it that is scholarly, it has much that is simply honest and communicative.
A bonus to this set is the conductor's 16-minute talk on the material and dramatic structure of the ST. MATTHEW PASSION. Although this is not everyone's recording of this work, it should not be "despisèd" before being given a chance. It may be just the thing for people who have delayed exploring this work because they find it too daunting.”
- Raymond Tuttle, Classical.Net
"Soprano Adele Addison is best known as the singing voice of Bess, portrayed on-screen by Dorothy Dandridge, in the 1959 film version of PORGY AND BESS. Addison made her NYC recital debut in 1952 and began studying at Juilliard, debuting with the New York City Opera as Mimi in LA BOHEME in 1955. Though offered operatic roles, Addison chose to perform primarily in recital and concert, and developed a collaborative relationship with Leonard Bernstein, singing under his baton at the 1962 opening of Lincoln Center's Philharmonic Hall. Addison taught voice at SUNY Stony Brook, Eastman School of Music, Aspen Music Festival and the Manhattan School of Music, where she also served as chair of the voice department."
- OPERA NEWS, 16 Feb., 2013
“Charles F. Bressler, a tenor who appeared in numerous recital, oratorio and opera performances in New York City and around the world, was a favorite soloist with many local choruses, including the New York Pro Musica Antiqua, the Cantata Singers, the Collegiate Chorale and Musica Sacra. In a 1986 review of Musica Sacra's performance of Bach's ST. JOHN PASSION, Bernard Holland wrote in THE NEW YORK TIMES, ‘Charles Bressler's Evangelist was splendid, expressive musically and leaping fearlessly into Bach's intricate shifts in key’.
He sang with the Boston Symphony Orchestra and the New York Philharmonic and performed for the openings of both the Kennedy Center in Washington and Lincoln Center for the Performing Arts. He also sang with the Chicago Symphony, the Atlanta Symphony and the Orchestre de Paris, as well as the Santa Fe and San Francisco operas.
Mr. Bressler taught at the North Carolina School of the Arts, Brooklyn College, the Mannes College of Music and the Manhattan School of Music, and recorded for several labels.”
- THE NEW YORK TIMES, 4 Dec., 1996
CRITIC REVIEWS:
“There is much to admire here. The soloists are an excellent group. The quick vibrato in Lloyd's voice makes him a distinctive Evangelist, and he is an excitable participant in this story of Christ's crucifixion. Wildermann also has an unusual but not unpleasant voice, the sort that immediately attracts one's attention. It would be hard not to be involved with his very human Christ. Addison and Allen sing their solos with dignity and face; Allen's mezzo was a particularly rich and steady instrument at this early stage in her career. The choir alternates dramatic involvement in the turbae with devout purity in the chorales. In 1962, the musicians of the New York Philharmonic included concertmaster John Corigliano, flutist John Wummer, and oboist Harold Gomberg. Each of these gentlemen makes significant contributions to this recording. Finally, Bernstein treats the music tenderly, but he also treats it as a living thing; if this venture has little about it that is scholarly, it has much that is simply honest and communicative.
A bonus to this set is the conductor's 16-minute talk on the material and dramatic structure of the ST. MATTHEW PASSION. Although this is not everyone's recording of this work, it should not be "despisèd" before being given a chance. It may be just the thing for people who have delayed exploring this work because they find it too daunting.”
- Raymond Tuttle, Classical.Net
"Soprano Adele Addison is best known as the singing voice of Bess, portrayed on-screen by Dorothy Dandridge, in the 1959 film version of PORGY AND BESS. Addison made her NYC recital debut in 1952 and began studying at Juilliard, debuting with the New York City Opera as Mimi in LA BOHEME in 1955. Though offered operatic roles, Addison chose to perform primarily in recital and concert, and developed a collaborative relationship with Leonard Bernstein, singing under his baton at the 1962 opening of Lincoln Center's Philharmonic Hall. Addison taught voice at SUNY Stony Brook, Eastman School of Music, Aspen Music Festival and the Manhattan School of Music, where she also served as chair of the voice department."
- OPERA NEWS, 16 Feb., 2013
“Charles F. Bressler, a tenor who appeared in numerous recital, oratorio and opera performances in New York City and around the world, was a favorite soloist with many local choruses, including the New York Pro Musica Antiqua, the Cantata Singers, the Collegiate Chorale and Musica Sacra. In a 1986 review of Musica Sacra's performance of Bach's ST. JOHN PASSION, Bernard Holland wrote in THE NEW YORK TIMES, ‘Charles Bressler's Evangelist was splendid, expressive musically and leaping fearlessly into Bach's intricate shifts in key’.
He sang with the Boston Symphony Orchestra and the New York Philharmonic and performed for the openings of both the Kennedy Center in Washington and Lincoln Center for the Performing Arts. He also sang with the Chicago Symphony, the Atlanta Symphony and the Orchestre de Paris, as well as the Santa Fe and San Francisco operas.
Mr. Bressler taught at the North Carolina School of the Arts, Brooklyn College, the Mannes College of Music and the Manhattan School of Music, and recorded for several labels.”
- THE NEW YORK TIMES, 4 Dec., 1996