This new release comes after a well-received recording of Beethoven’s early version of “Fidelio” (“Leonore”, reviewed here), which used the same orchestra and chorus. Jacobs went here for a smaller, lighter version of this gigantic masterpiece. Setting aside some rushed tempi (a recurring issue in Jacobs’ recordings), you won’t find anything extreme or revolutionary, which can be either good or bad, depending on your personal taste.
Interpretational decision aside, the Freiburger Barockorchester’s colors and balances are bright and finely tuned. Jacobs’ pacing ensures the excitement is measured, keeping hold of a tight rein which he only loosens when necessary. The gentle moments of the Benedictus have a rather cool orchestral sound; Masaaki Suzuki brings a greater solemnity in comparison.
Jacobs employs RIAS Kammerchor Berlin once again, following in the footsteps of his highly regarded Mozart’s Requiem, Haydn’s The Seasons and Beethoven’s Leonore. The choir sings with their usual conviction and technical assurance, though their polished refinement can be too much of a good thing, especially in the more dramatic moments of the Gloria.
Related Classical Music Reviews
- Review: Beethoven – “Leonore” – René Jacobs
- Review: Bach St. Matthäus Passion – René Jacobs
- Review: Beethoven – Songs and Folksongs – Bostridge, Pappano
Jacobs’ soloists are carefully chosen, the size of the voices are is overall similar, which enhances the blend. Soprano Polina Pastirchak is commendable, though the most distinctive of the four soloists is mezzo-soprano Sophie Harmsen, whose lower-register has a real contralto glow. Tenor Steve Davislim comes more into his own in the Credo during his solo lines. Bass Johannes Weisser is authoritative, but in the opening of the Agnus Dei lacks the command and formidable darkness of Cornelius Hauptmann for Herreweghe, echoed by the men of Collegium Vocale Gent.
In comparison, Suzuki brings an even smoother, but slimmer, orchestral and choral sound. Jacobs provides more raspy qualities to his orchestra, especially in his brass and woodwind reeds. Jacobs’ consistent fast approach to tempi and transparent sound works well in most movements, yet some listeners may feel an anticlimax when arriving at the final Dona Nobis Pacem, which sounds uneventful.
Recorded in Teldex Studio Berlin, the sound is superb. There is sufficient reverberance to add atmosphere, but without clouding the choral and orchestral textures. The soloists are closer and are judiciously balanced. The booklet includes the usual program notes and a transcript of a conversation between Martin Bail of the Freiburger Barockorchester and Jacobs, providing his insights on performing the work.
Beethoven – Missa Solemnis, Op. 123
Polina Pastirchak – Soprano
Sophie Harmsen – Mezzo-Soprano
Steve Davislim – Tenor
Johannes Weisser – Bass
Rias Kammerchor Berlin
Freiburger Barockorchester
René Jacobs – Conductor
Beethoven Missa Solemnis – Recommended Comparisons
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