Bach: Arias

1	Cantata No. 83, "Erfreute
2	Cantata No. 170, "Vergnüg
3	Cantata No. 82, "Ich habe
4	Cantata No. 74, "Wer mich
5	Cantata No. 42, "Am Abend
6	Cantata No. 156, "Ich ste
7	St. Matthew Passion (Matt
8	Cantata No. 54, "Widerste
9	Mass in B minor, for solo
10	Cantata No. 156, "Ich ste
11	Weihnachtsoratorium (Chri
12	Weihnachtsoratorium (Chri
Bach: Arias
1.	Cantata No. 83, "Erfreute Zeit im neuen Bunde," BWV 83 (BC A167): Erfreute Zeit 6:58
	Composed by Johann Sebastian Bach
	Performed by Angelika Kirchschlager, Giuliano Carmignola and Venice Baroque Orchestra
	Conducted by Andrea Marcon
2.	Cantata No. 170, "Vergnügte Ruh, beliebte Seelenlust," BWV 170 (BC A106): Vergnügte Ruh 7:13
	Composed by Johann Sebastian Bach
	Performed by Angelika Kirchschlager and Venice Baroque Orchestra
	Conducted by Andrea Marcon
3.	Cantata No. 82, "Ich habe genug," BWV 82 (BC A169): Schlummert ein, ihr matten Augen 9:51
	Composed by Johann Sebastian Bach
	Performed by Angelika Kirchschlager and Venice Baroque Orchestra
	Conducted by Andrea Marcon
4.	Cantata No. 74, "Wer mich liebet, der wird mein Wort halten," BWV 74 (BC A83): Nichts kann mich erretten 5:20
	Composed by Johann Sebastian Bach
	Performed by Angelika Kirchschlager, Giuliano Carmignola and Venice Baroque Orchestra
	Conducted by Andrea Marcon
5.	Cantata No. 42, "Am Abend aber desselbigen Sabbaths," BWV 42 (BC A63): Wo zwei und drei versammelt sind 10:23
	Composed by Johann Sebastian Bach
	Performed by Angelika Kirchschlager, Nicola Favaro, Stefanie Haegele and Venice Baroque Orchestra
	Conducted by Andrea Marcon
6.	Cantata No. 156, "Ich steh mit einem Fuss im Grabe," BWV 156 (BC A38): Herr, was du willst 3:37
	Composed by Johann Sebastian Bach
	Performed by Angelika Kirchschlager, Stefanie Haegele and Venice Baroque Orchestra
	Conducted by Andrea Marcon
7.	St. Matthew Passion (Matthäuspassion), BWV 244 (BC D3b): Erbarme Dich 6:45
	Composed by Johann Sebastian Bach
	Performed by Angelika Kirchschlager, Giuliano Carmignola and Venice Baroque Orchestra
	Conducted by Andrea Marcon
8.	Cantata No. 54, "Widerstehe doch der Sünde," BWV 54 (BC A51): Widerstehe doch der Sunde 8:50
	Composed by Johann Sebastian Bach
	Performed by Angelika Kirchschlager, Giuliano Carmignola and Venice Baroque Orchestra
	Conducted by Andrea Marcon
9.	Mass in B minor, for 5 voices, 6-part chorus, violin, orchestra & continuo, BWV 232 (BC E1): Laudamus te 4:19
	Composed by Johann Sebastian Bach
	Performed by Angelika Kirchschlager, Giuliano Carmignola and Venice Baroque Orchestra
	Conducted by Andrea Marcon
10.	Cantata No. 156, "Ich steh mit einem Fuss im Grabe," BWV 156 (BC A38): Sinfonia 2:48
	Composed by Johann Sebastian Bach
	Performed by Angelika Kirchschlager, Stefanie Haegele and Venice Baroque Orchestra
	Conducted by Andrea Marcon
11.	Weihnachtsoratorium (Christmas Oratorio), in six parts, BWV 248 (BC D7): Bereite dich Zion 5:03
	Composed by Johann Sebastian Bach
	Performed by Angelika Kirchschlager and Venice Baroque Orchestra
	Conducted by Andrea Marcon
12.	Weihnachtsoratorium (Christmas Oratorio), in six parts, BWV 248 (BC D7): Chorale: Wie soll ich dich empfangen 1:34
	Composed by Johann Sebastian Bach
	Performed by Angelika Kirchschlager and Venice Baroque Orchestra
	Conducted by Andrea Marcon

All Music Guide

In the crush of mezzo sopranos actively recording, Angelika Kirchschlager's warm and direct voice stands somewhat apart from the perhaps overly subjective Cecilia Bartoli and the possibly overly objective Anne-Sofie von Otter. This combination has worked well in many, even most, of Kirchschlager's recordings: her disc of Korngold and Mahler songs was affecting without being affected and her disc of lullabies was sentimental without succumbing to mawkishness. In many ways, this disc of Bach arias is quite as lovely as anything Kirchschlager has done: her tone is beautifully rounded, her phrasing is alert to the meaning of the text and the music, and her sensitivity to the nuances of Bach's vocal writing makes her interpretation of each aria separate and special. But teaming Kirchschlager with the Venice Baroque Ensemble, a period instrument ensemble directed by violinist Giuliano Carmignola, does her no good. Against the dry sound of the Baroque violinist, Kirchschlager's thoroughly modern vocal performance sounds overheated. And against the detached-to-the-point-of-reticence interpretations of Carmignola, Kirchschlager's straightforward interpretations sound almost affected. In such wonderful arias as "Erbarme Dich" from the "St. Matthew Passion," for example, Kirchschlager sings with passionate but controlled vibrato while the Venice Baroque Ensemble plays with a parched tone that verges on desiccation. Separately, either might have been wonderful, but they are almost oxymoronic in combination. This is worth getting to hear Kirchschlager, but with reservations. James Leonard

New York Times

Ms. Kirchschlager is a natural in this music.... She faces a formidable recorded legacy here, yet she reveals neither obvious debts to other singers nor self-conscious attempts to sound original. Ms. Kirchschlager sings these arias straightforwardly and with evident heart, and with a voice as ravishing as hers, nothing more is needed. David Mermelstein

Gramophone

[Kirchschlager] is a highly responsive and imaginative singer (superb diction) and many will appreciate her unequivocal vocal presence and the orchestra's bright-eyed, if unseasoned view of Bach. Jonathan Freeman-Attwood