Christiane Karg (soprano), Sophie Harmsen (mezzo), Werner Güra (tenor), Florian Boesch (baritone), Kristian Bezuidenhout (fortepiano)
Freiburger Barockorchester, Zürcher Sing-Akademie, Pablo Heras-Casado
It goes beyond [Hogwood and Norrington], not in the remarkable speed at which it all moves, but in the intensity with which every player invests his part in its fury and wildness…I hadn’t heard Pablo Heras-Casado and the Freiburg Baroque Orchestra before, but there is evidently an exceptionally close relationship between and among them, and the effect is devastating…Listen and be amazed.
it’s the Ninth that’s the revelation, thanks to the rightness of Heras-Casado’s tempos (never has the mighty first movement sounded so relentless), the intricate, incisive rhythms, the clarity that makes Beethoven’s revolutionary scoring endlessly startling (thrillingly prominent horns and bassoons), and the inspired soloists and chorus.
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