BCJ“コンサート批評集” 「'99 BCJ イスラエル・ツアー新聞評」

 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)

"Yediot Akharonot" 21.1.1999

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.

Hanoch Ron
媒体: Yediot Akharonot(イディオット・アハロノット紙)
評者: Hanoch Ron
日時: 1999年1月20日(水)
会場: リション・レツィオン文化センター(イスラエル)

曲目: J.S.バッハ
   オーボエとヴァイオリンのための協奏曲 BWV1060

エキサイティング? それ以上。スリリング? いやもっといい。マーヴェラス(驚くべき素晴らしさ)でもまだ言い足らない。断っておくが私は決して大袈裟な人間ではない。にもかかわらず、この素晴らしい日本人たちがカンタータ第4番の二重唱を歌ったとき、私の目には涙が溢れ、そのことを恥ずかしいとは思わなかった。それはまさにヒューマニズム溢れるダイヤモンドの輝きをもつバッハだったからだ。






"HA-ARETZ" 21.1.1999

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.

Hagai Hitron
媒体: HA-ARETZ(ハーレツ紙)
評者: Hagai Hitron
日時: 1999年1月20日(水)
会場: リション・レツィオン文化センター(イスラエル)

曲目: J.S.バッハ
   オーボエとヴァイオリンのための協奏曲 BWV1060
《日本の(セバスティアン)バッハ ~ SEBASTIAN OF JAPAN》


ソリストの中で特に素晴らしかったのは、ソプラノの鈴木美登里。彼女は最初に演奏されたカンタータ第4番のカウンターテナーとの二重唱で直ちにその魅力を発揮し、コンサート全体を通しその後も期待を裏切らなかった。当夜用意された公演プログラムも、Ronit Seter氏の解説がためになる内容で賞賛に値する。ほかのソリストたちはまずまずで、それ以上のものではなかったが、全体の印象を減ずるものではなかった。


Ma'Ariv 21.1.1999

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.

Ora Binor 
媒体: Ma’Ariv(マーリヴ紙)
評者: Ora Binor
日時: 1999年1月20日(水)
会場: リション・レツィオン文化センター(イスラエル)

曲目: J.S.バッハ
   オーボエとヴァイオリンのための協奏曲 BWV1060

《バッハも喜んだに違いない〜Bach would have been delighted》







評者: Hanoch Ron
日時: 1999年1月22日(金)
会場: リション・レツィオン文化センター(イスラエル)

曲目: ヘンデル《メサイア》

《“The Messiah” did come.》



何故ヘンデルは微笑んでいたのか? それは合唱の完璧な歌ゆえに。それぞれの声部がこのように明瞭に聴かれるとはなんとういう素晴らしさ。”And the nation saw the voices” など「奇跡」と言えよう。

何故ヘンデルは微笑んだのか? それはその小編成のオーケストラがまさに最高水準の演奏を聴かせたゆえに。すべての音は明瞭で、貴方はその音のシャワーを浴び、リフレッシュしたことだろう。鈴木は深い洞察をもって、私がこれまでに聴いた《メサイア》の中で最もインティメートな解釈を行なったのだ。

何故ヘンデルは微笑んだのか? ソプラノ独唱の柳沢亜紀が清潔で若さ溢れる声を放ち、アルト独唱のキルステン・ソレク・アヴェラの喉からシルクのような声が溢れ、男性ソリスト二人も同様に忘れがたい歌唱を披露したゆえに。

リション交響楽団の定期会員は昨日、鈴木がステージで聖なる音楽を繰り広げたゆえに、勝者であった。残念なことにヘンデルと救世主は終演後直ちに天国へと帰っていってしまった。しかし明日の土曜日、彼らは再び戻ってくる。 急げ、そして聴け。