René Jacobs reviews

René Jacobs reviews

Beethoven: Missa Solemnis

RIAS Kammerchor; Freiburger Barockorchester/René Jacobs, et al (Harmonia Mundi)
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Schubert: Symphonies Nos 2 & 3

B'Rock Orchestra/René Jacobs (Pentatone)
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Schubert: Symphonies Nos 1 & 6

B’Rock Orchestra/René Jacobs (Pentatone)
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A Scarlatti: Il Primo Omicidio

Graciela Oddone, Dorothea Röschmann, Bernarda Fink, René Jacobs, Richard Croft, Antonio Abete; Akademie Fur Alte Musik Berlin/René Jacobs (Harmonia Mundi)
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Beethoven: Leonore

Zurcher Sing-Akademie; Freiburg Baroque Orchestra/René Jacobs, et al (Harmonia Mundi)
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René Jacobs gives a 'bold, innovative and passionate' interpretation of Mozart's Requiem

Bold, innovative and passionate, René Jacobs’s new reading of Mozart’s Requiem towers above the crowd. Pierre-Henri Dutron’s new completion of this famously unfinished score illuminates how Mozart was re-forging his musical language in the year he died to make it tauter and deeper, yet more transparent. So forceful are Mozart’s ideas that they regenerate themselves even in the completion by Franz Xaver Süssmayr, which Dutron adapts to realise more fully Mozart’s new procedures. 

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Mozart: Die Zauberflote

 

Anyone tempted to programme the remote-control to skip over the dialogue in this Zauberflöte will rue the day. For this is a total experience, perfectly tailored for private listening. René Jacobs thinks of it as a Hörspiel: it’s a play to be heard – and I don’t know a recorded Zauberflöte more thrillingly alive with fantasy, profoundly musical imagination, real magic, and real fun too.

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Purcell: Dido and Aeneas

With a cast of singers such as the one chosen by René Jacobs for his new recording of Purcell’s opera Dido and Aeneas it would be hard to imagine anything short of a triumph. Nor, in the event, was I disappointed, though opinions will surely differ over the solution offered by Jacobs for the end of Act II. It has long been thought that music for a concluding scene of the act has been lost.
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