１月２４日､今回のイスラエル・ツアーの最終公演“ヨハネ受難曲”の公演をひかえた鈴木秀美さんから、初日のコンサートの現地新聞評（英語訳、原文はヘブル語とのことです）が届きました！ ３つの批評とも、BCJを高く評価してくださっているようです。（たぶん・・・?!)　今回は速報ということでいただいたままを掲載いたしますが、英語に堪能な皆様、よろしかったら要約でもお寄せいただけませんでしょうか？　よろしくお願いいたします。秀美さん、ありがとうございました！　（99/01/26)
　BCJ事務局による翻訳をご提供いただきましたので、各批評の英文のあとに掲載いたしました。また、「メサイア」の批評の翻訳も頂戴いたしましたので、合わせてこちらに掲載させていただきます。どうかご覧ください！　
(99/03/24、01/11/04新聞名修正)

The Humanitarian Diamond of Bach

Concert: "The Bach Collegium Japan" Cantatas by Bach.
Conductor: Masaaki Suzuki, The new Rishon Le Zion Cultural Center.


Exciting? more than that. Thrilling-better than that. Marvelous?-still more.
And I am not exaggerating. When the wonderful Japanese sang the duet (Cantata no.4) I had tears in my eyes and I am not ashamed to admit it. It was simply the humanitarian diamond of Bach.

It was a great evening for the conductor, Masaaki Suzuki, whose feeling simply express themselves through his fingers. With him, Bach is "liberated" both from his baton and from his head. The presentation of the Cantatas ( nos. 4, 182, 131) flow beautifully. With modesty. Have I already said that this was the height of spirituality.

Another wonder was the Japanese choir. Only 18 singers, but what quality, what sound. This choir has such a variety of special shades and tones. The soprano has a polished ring that reaches under your skin. Little by little-dark shades. And as for the male singers, it is as if they "warm" the singing of the women

I could have cried when the choir began to sing the Cantata 131. Yesterday we did not simply hear a choir, but a carpet of unique colours that suddenly started to sing. And when the soprano sang with the bass singer, it was like entering into a mode of feelings that I did not know I had.

There were also wonderful soloists. But above all, it is Suzuki that bring a new magic to Bach: a new sound. Full of piety. Flexible. This is a different energy of sound, that we in the West have not heard before. And tell me if I have already written the word "magical"? Forget it, it is much more than that.

Sebastian of Japan

Bach Collegium Japan, conducted by Masaaki Suzuki
Bach Programme, Rishon LeZion Cultural Center


"My soul walks on roses" snag the choir, towards the end of the Cantata "King of the Heavens, Blessed be his Coming" by Bach. This was indeed my feeling during many of the works tnat characterised the first part of the concert.

All the elements needed for a stirring performance were present- and stirring it certainly was. This marvellous ensemble from Japan, the players and the choir, give a rendering of Bach that is disciplined, pure, clear and the unforgettable notes ring out with clarity (at least to the places close to the stage) in the large, beautiful hall of Rishon LeZion (Suzuki remarked that in Japan he performs these works in even larger halls).

Outstanding among the soloists was the soprano, Midori Suzuki, sister-in-law of the Conductor (wife of his brother, Hidemi Suzuki, who is a cellist and also a member of this orchestra). Her duet with the contra-tenor at the beginning of Cantata no. 4 immediately demonstrated the joy that could be expected from the rest of the evening. A word of praise is due for the programme, for its pleasant presentation and for the instructive explanation of Ronit Seter. As for the other soloists, they were adequate, no more, but this in no way detracted from the general impression. This was an event that underlined the universality of Johann Sebastian Bach- From Tokyo to Rishon LeZion and Jerusalem.

Bach would have been delighted

Bach Collegium Japan, at the Rishon LeZion Cultural Center:


Today, on the threshold of the Second Millenium, it would be banal to ask "Japanese playing Bach?" when the distance in our world have become so much shorter, and inter-culture contact has become so strong.

The fruits of this intermingling we heard in the marvellous rendering of three Cantatas (Nos. 4 , 131, 182) of Bach wonderfully played and sung bu the Bach Collegium Japan conducted by Masaaki Suzuki.

Suzuki, whose long white hair recalls the image of Bach himself, received his musical education in Europe, as probably did many of his players and singers in the orchestra. His conducting is disciplined and introvert, but comes across with accuracy and erudition, identifying closely with the religious music of Bach. It seems that, oddly, the Japanese personality with its delicacy and disciplined character, intermingles wonderfully with this music of Bach. The Collegium, composed of 40 players and singers, create a Japanese influence, and sort of synthesis between traditional playing and gentle authenticity that retains the delicacy-refreshing and accurate. Thus the beauty of the lyrical melody is retained while the play of the voices is amazing, and the singing of the choir is crystal clear. The music flows over one bringing pure pleasure, without any effort. They are more "yekkes" (Israel nickname for one with German characteristics) than Germans.

Among the singers were the soprano with an outstanding voice of many shades, warm and special, and the contra-tenor who amazed us with his natural, delicate singing. And also some praise for the baroque oboe player for his musicality.

It was a double celebration, because although the new hall is not so beautiful, the acoustics are excellent, and the warm tones flow clearly from the stage.

Therefore, with the Japanese musicians and the large capacious new hall, there is no doubt that Bach would have been delighted to hear his music ringing out so beautifully in a hall with such wonderful acoustics.

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