After Handels’s Messiah and the Ode for St Cecilia’s Day, Daniela Dolci
and Musica Fiorita present on Pan Classics their version of Johann
Sebastian Bach’s Christmas Oratorio. Based in Basel, Dolci has easy
access to many of the best vocal soloists around, and this recording has
been no exception: the role of the Evangelist is sung by Hans Jörg
Mammel, and the other main roles are defended by Gunta Smirnova, Flavio
Ferri-Benedetti and Raitis Grigalis. With such a setup, the question of
“why a new recording of the Christmas Oratorio” is needed is easily
answered. For more than 25 years the ensemble Musica Fiorita, conducted
by Daniela Dolci, has been specializing in the performance of late
Renaissance and Baroque music. The ensemble strives to promote the
current standards of historically informed performance practice and is
committed to being true to both the original scores and the liveliness
of their performance. The varied use of period instruments as well as
the presence of a substantial continuo group add to the flourishing of
the finer nuances of the music of the 17th and 18th centuries.
After Handels’s Messiah and the Ode for St Cecilia’s Day, Daniela Dolci
and Musica Fiorita present on Pan Classics their version of Johann
Sebastian Bach’s Christmas Oratorio. Based in Basel, Dolci has easy
access to many of the best vocal soloists around, and this recording has
been no exception: the role of the Evangelist is sung by Hans Jörg
Mammel, and the other main roles are defended by Gunta Smirnova, Flavio
Ferri-Benedetti and Raitis Grigalis. With such a setup, the question of
“why a new recording of the Christmas Oratorio” is needed is easily
answered. For more than 25 years the ensemble Musica Fiorita, conducted
by Daniela Dolci, has been specializing in the performance of late
Renaissance and Baroque music. The ensemble strives to promote the
current standards of historically informed performance practice and is
committed to being true to both the original scores and the liveliness
of their performance. The varied use of period instruments as well as
the presence of a substantial continuo group add to the flourishing of
the finer nuances of the music of the 17th and 18th centuries.
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