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Orchestra of Emmanuel Music, Smith. Notes, texts and translations. Nonesuch 79692
Consider this the original-cast album. It is, after all, a sonic memento of a weird one-woman show staged in 2000 by Peter Sellars. Reinterpreting two of Bach's most poignant sacred cantatas as avant-gardish monodramas of angst, the aging enfant terrible promised "a discussion of the last half-hour of your life." Unblushingly, he labeled poor Johann Sebastian "the most politically and socially engaged composer ever" and described the production as "real food for the soul." "That's radical," he added. Radical, perhaps. Pretentious, certainly.
At the New York premiere, which happened to take place in the incongruous auditorium of John Jay College of Criminal Justice, there seemed to be much gilding of the funereal lily. One half of the stage was occupied by a fine chamber orchestra, mostly women, from the Emmanuel Church in Boston. The other half served as acting domain for an extraordinarily daring, disciplined and vibrant mezzo-soprano, Lorraine Hunt Lieberson.
In Cantata No. 82, "Ich habe genug," she impersonated a dying patient, clad in a hospital gown, tubes protruding from her arms and nose. ...