RECORDINGS

LABEL: PIERRE VERANY FAVOURITES
CATALOG NUMBER: PV730045
UPC NUMBER: 329716730045
NUMBER OF DISCS: 1
RUNNING TIME: 74:02
YEAR RECORDED: 1995
CD RELEASE DATE: OCTOBER 24, 1995
CONDUCTOR: PAUL KUENTZ
ORCHESTRA: PAUL KUENTZ CHAMBER ORCHESTRA
CHOIR: PAUL KUENTZ CHOIR
SOPRANO: BARBARA SCHLICK
COUNTERTENOR: JEAN NIROUET
TENOR: ALEXANDER STEVENSON
BASS: PHILLIP LANGSHAW

AUDIO SAMPLES HIGHLIGHTS OTHER RELEASES

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DISC ONE

1. Symphony [Grave, Allegro moderato]           3:08
2. Comfort ye           2:42
3. Ev'ry valley           3:23
4. And the glory of the Lord           3:09
5. And the glory of the Lord           2:37
6. For unto us a child is born           4:09
7. There were shepherds           1:48
8. Glory to God           2:08
9. Rejoice greatly           4:33
10. Behold the lamb of God           2:10
11. He was despised           10:37
12. Lift up your heads           3:16
13. Why do the nations           2:55
14. Let us break their bonds           1:56
15. Hallelujah           3:56
16. I know that my Redeemer liveth           5:24
17. Behold, I tell you a mystery/The trumpet shall sound           9:38
18. Worthy is-the-lamb           3:19
19. Amen           3:58

SITE RATING:  2/10
SITE REVIEW:  Conductor Paul Keuntz may have the financial wherewithall to fund his own "vanity" chamber orchestra and choir, but based on this recording, I'm not going to go rushing out and discover more of his recordings.  Keuntz's tempos are all over the map, and he gives odd emphasis to the downbeats and closing moments of phrases; the chorus is disunified, out of tune, and has strong French accents which bludgeon Handel's English to a painful degree; the soloists are generally amateurish (including countertenor Jean Nirouet's shrill, unpleasant tone), and the chamber orchestra is out of tune and muffs notes (including some obvious mis-steps by the trumpeters during the "Hallelujah" chorus).  Tenor Alexander Stevenson feels the need for pointless ornamentation, and soprano Barbara Schlick posesses a bright, quick vibrato which grated on my nerves.  Strong points include bass Phillip Langshaw, (but even he goes notably out of tune in his upper register); and the rare moments when everything gels - but those points are very few and far between.  This is an obviously low-budget affair, most probably caught in a live performance, with no time taken to fix pointed mistakes.  Avoid, avoid, avoid - unless you absolutely need to hear a backwater French ensemble butcher a baroque masterpiece.

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