Brahms: Ein deutsches Requiem (New Master) Carolyn Sampson, André Morsch, Cappella Amsterdam, Orchestra of the Eighteenth Century & Daniel Reuss

• Johannes Brahms (1833 - 1897): Selig sind, die da Leid tragen (New Master 2024):
• 1 Brahms: Selig sind, die da Leid tragen (New Master 2024) 10:31
• Denn alles Fleisch, es ist wie Gras (New Master 2024):
• 2 Brahms: Denn alles Fleisch, es ist wie Gras (New Master 2024) 14:35
• Herr, lehre doch mich (New Master 2024):
• 3 Brahms: Herr, lehre doch mich (New Master 2024) 10:30
• Wie lieblich sind deine Wohnungen (New Master 2024):
• 4 Brahms: Wie lieblich sind deine Wohnungen (New Master 2024) 05:45
• Ihr habt nun Traurigkeit (New Master 2024):
• 5 Brahms: Ihr habt nun Traurigkeit (New Master 2024) 07:12
• Denn wir haben hie keine bleibende Statt (New Master 2024):
• 6 Brahms: Denn wir haben hie keine bleibende Statt (New Master 2024) 11:27
• Selig sind die Toten (New Master 2024):
• 7 Brahms: Selig sind die Toten (New Master 2024) 09:38
• Total Runtime 01:09:38

Info zu Brahms: Ein deutsches Requiem (New Master)

Carolyn Sampson
Equally at home on the concert and opera stages, Carolyn Sampson has enjoyed notable successes in the UK as well as throughout Europe and the US.

On the opera stage her roles have included the title role in Semele and Pamina in The Magic Flute for English National Opera, various roles in Purcell’s The Fairy Queen for Glyndebourne Festival Opera (released on DVD) and both Anne Truelove The Rake’s Progress and Mélisande Pelléas et Mélisande in Sir David McVicar’s productions for Scottish Opera. Internationally she has appeared at Opéra de Paris, Opéra de Lille, Opéra de Montpellier and Opéra National du Rhin. She also sang the title role in Lully’s Psyché for the Boston Early Music Festival, which was released on CD and was subsequently nominated for a Grammy.

Carolyn’s numerous concert engagements in the UK have included regular appearances at the BBC Proms, and with orchestras including Britten Sinfonia, City of Birmingham Symphony Orchestra, English Concert, Hallé, Orchestra of the Age of Enlightenment, Scottish Chamber Orchestra, The Sixteen, and Royal Liverpool Philharmonic Orchestra.

In Europe her many appearances have included concerts with Bergen Philharmonic, Freiburger Barockorchester, Gürzenich Orchestra, Leipzig Gewandhaus Orchestra, Orchestra dell’Accademia Nazionale di Santa Cecilia, Rotterdam Philharmonic, Royal Concertgebouw Orchestra, Salzburg Mozarteum Orchestra, Symphonieorchester des Bayerischen Rundfunks, Vienna Symphony Orchestra, and WDR Symphony Orchestra.

In the US Carolyn has featured as soloist with the Boston, Cincinnati, Detroit, and San Francisco Symphonies, the Philadelphia Orchestra, and the St Paul Chamber Orchestra, and is a regular guest at the Mostly Mozart Festival. Most recently she performed and recorded Mahler Symphony No. 4 with Osmo Vänskä and the Minnesota Orchestra. In October 2013 she made her Carnegie Hall recital debut to a sold-out audience in the Weill Recital Hall, and has given recitals at the Lincoln Center, New York, and San Francisco Performances.

Carolyn works with conductors such as Sir Mark Elder, Harry Bicket, Ivor Bolton, Riccardo Chailly, Harry Christophers, Philippe Herreweghe, Andris Nelsons, Yannick Nezet-Seguin, Louis Langrée, Trevor Pinnock, and Donald Runnicles.

A consummate recitalist, Carolyn Sampson appears regularly at the Wigmore Hall where she was a “featured artist” in the 14/15 season. She has given recitals at the Oxford and Leeds Lieder, Saintes and Aldeburgh Festivals as well as at the Amsterdam Concertgebouw, Barcelona, Freiburg, Oper Frankfurt, Vienna Konzerthaus, and recently her debut recital tour of Japan.

Carolyn has developed a partnership with the pianist Joseph Middleton over recent years. Her debut song recital disc with Joseph, ‘Fleurs’, was released early in 2015 featuring songs by composers from Purcell to Britten, and was nominated in the solo vocal category of the Gramophone Awards. Since then they have gone on to release ‘A Verlaine Songbook’ exploring settings of the poetry of Paul Verlaine, ‘Lost is my Quiet’ – a duet disc with the countertenor Iestyn Davies, ‘A Soprano’s Schubertiade’, ‘Reason in Madness’ and most recently ‘The Contrast – English Poetry in Song’, all for the BIS label.

Alongside her longstanding relationship with the BIS label she has released multi award-winning discs for Decca, Harmonia Mundi, and Hyperion, receiving accolades including the Choc de l’Année Classica, Gramophone Magazine Editor’s Choice, BBC Music Magazine’s “Record of the Month”, an ECHO Award, and a Diapason D’or. Her recording with Ex Cathedra for Hyperion, ‘A French Baroque Diva’ won the recital award in the 2015 Gramophone Awards. Carolyn was also nominated for Artist of the Year in the 2017 Gramophone Awards, and her recording of Mozart’s Mass in C minor and Exsultate Jubilate with Masaaki Suzuki and Bach Collegium Japan won the Choral Award.

Recent and future highlights include tours with Freiburger Barockorchester, Bach Collegium Japan, concerts with the Boston Symphony, Philadelphia, and Rotterdam Philharmonic Orchestras, Orchestra dell’Accademia Nazionale di Santa Cecilia and at the Salzberger Festspiele. Recital highlights include those at Wigmore Hall, Amsterdam Concertgebouw, de Singel, Antwerp and Pierre Boulez Saal Berlin.

André Morsch
German baritone André Morsch graduated with distinction at the Amsterdam Conservatory where he studied with Margreet Honig. He is a former member of William Christie’s Le Jardin des Voix and recipient of the 1st Prize and Hermann-Reutter-Prize at the prestigious 'Internationaler Wettbewerb für Liedkunst' in Stuttgart and the Prix Bernac from the Académie Ravel in Saint-Jean-de-Luz.

A former ensemble member of Oper Stuttgart, his roles for this house included Leporello/Don Giovanni, Papageno/Die Zauberflöte, Figaro/Le Nozze di Figaro, Figaro/Il Barbiere di Siviglia, Harlekin/Ariadne auf Naxos, Achille/Giulio Cesare, Shaunard/La Bohème, Dandini/La Cenerentola, Cithéron/Platée, Dr. Falke/Die Fledermaus, Der Graf in Boesmans' Der Reigen, Guglielmo/Cosi fan tutte, Pluto/Orphee aux enfers, Malatesta/Don Pasquale and Fernando Ormez in the world premiere of Toshio Hosokawa’s Erdbeben.Träume, directed by Jossi Wieler.

At De Nationale Opera Amsterdam, he has sung many roles, such as Pompeo/Benvenuto Cellini, Der Graf in Schreker’s Der Schatzgräber, Jake Wallace/La Fanciulla del West, Michelotto Cibo in Schreker’s Die Gezeichneten and, most recently, Thésée in Enescu’s Oedipe, conducted by Marc Albrecht.

Other recent opera appearances include Plutone in Legrenzi’s La Divisione del Mondo, conducted by Christophe Rousset, at the Opéra National du Rhin, in Nancy and Versailles, Papageno at Grand Théâtre de Genève, Figaro/Le Nozze di Figaro, Bach's St John Passion and Guglielmo with the Orchestra of the 18th Century, Adario/Les Indes Galantes at Opernhaus Zürich, the title role in Lully’s Cadmus et Hermione at Opéra Comique in Paris (Diapason d'Or, DVD of the year 2009/Deutsche Schallplattenkritik), Fritz/Die tote Stadt and Figaro/Le Nozze di Figaro at the Opéra national de Lorraine in Nancy, Boris in Shostakovich’s Moskva - Cheremushki at the Opéra de Lyon and Stephano in Martin's Der Sturm at the Concertgebouw Amsterdam.

In concert, he has worked with, amongst others, the Royal Concertgebouw Orchestra, the Gewandhausorchester Leipzig, the Tonhalle Orchester Zürich, Kioi Hall Chamber Orchestra, the Beethoven Orchester Bonn, Les Talens Lyriques, Le Poème Harmonique, Les Arts Florissants, Les musiciens du Louvres, Akademie für alte Musik Berlin, Het Residentie Orkest, the Dutch Radio Philharmonic Orchestra, Danish Radio Symphony Orchestra and conductors such as Frans Bruggen, Jaap van Zweden, Ingo Metzmacher, James Gaffigan, Hervé Niquet, Christophe Rousset, William Christie, Marc Minkowski, Vincent Dumestre, Carlo Rizzi, Ivor Bolton, Kenneth Montgomery, Marcus Creed, Reinbert de Leeuw, Jan Willem de Vriend, Sylvain Cambreling and Edo de Waart.

Most recent engagements include Bach’s Saint John Passion and B-minor Mass with Les Arts Florissants, Beethoven 9 with Concert Olympique, Handel’s Messiah with the NDR Chor at Elbphilharmonie Hamburg, Papageno in Mozart’s Magic Flute and Jesus in Bach’s Matthew Passion at Theater Basel, Malatesta in Donizetti’s Don Pasquale at Opera Dijon, the world premiere of Jan Mueller Wieland’s Maria with the Balthasar Neumann Ensemble and Thomas Hengelbrock at the Ruhrtriennale Festival, Brahms’ Requiem, Haydn’s Jahreszeiten and the title role in Don Giovanni with the Orchestra of the 18 Century, Britten’s War Requiem with Het Gelders Orkest, Mozart’s Krönungsmesse with the Cuban European Youth Orchestra and Thomas Hengelbrock, Schubert’s Stabat Materand Mendelssohn’s Elijah with the Dutch Radio Philharmonic at the Concertgebouw Amsterdam, Haydn's Schöpfungsmesse and Mozart’s Requiem with the Brussels Philharmonic, the title role in Telemann’s Miriways with the Akademie für Alte Musik Berlin under Bernard Labadie at Laeizhalle Hamburg, Brahms’ Deutsches Requiem with the Sinfonieorchester Basel and the Cuban European Youth Orchestra under Thomas Hengelbrock in Havana and Weihnachtsoratorium with Chorwerk Ruhr in Madrid and at the Essen Philharmonie and Mozart’s Zauberflöte/Papageno at Theater Basel.

In recital, he regularly performs with Julius Drake, with appearances at the Concertgebouw Amsterdam, Tonhalle Zurich, Delft Chamber Music Festival and elsewhere.

Daniel Reuss
studied with Barend Schuurman at the Rotterdam Conservatory. In 1990, he became director of Cappella Amsterdam, which he turned into a full-time professional ensemble that is now one of the most sought after in the Netherlands.

From 2008 till 2013 he was also the artistic director/chief conductor of the Estonian Philharmonic Chamber Choir.

In 2010, he was nominated for a Grammy "best choral performance" for the cd he made with the two choirs together (Frank Martins Golgotha).

From 2003 until 2006 he was chief conductor of the RIAS Kammerchor in Berlin, with whom he recorded a number of successful CDs. Their CD with works by Martin and Messiaen (released by Harmonia Mundi) won both the "Diapason d'or de l'année 2004" and the "Preis der Deutschen Schallplattenkritik". The CD's Les Noces, Le vin Herbé and Händels Solomon have also been critically acclaimed.

In summer 2006, at the invitation of Pierre Boulez, Daniel Reuss teached and conducted at the summer 2006 Lucerne Festival Academy.

In February 2007, Reuss made his debut at the English National Opera, with Händel's Agrippina. In 2008 he directed at De Munt/La Monnaie in Bruxelles, with the Dido & Aeneas-production of stage director Sasha Waltz.

From 2008 till 2013 he was the artistic director/chief conductor of the Estonian Philharmonic Chamber Choir. In 2010, he was nominated with the Estonian Philharmonic Orchestra together with Cappella Amsterdam for a Grammy for best choral performance for the recording of Martin's Golgotha (harmonia mundi). The two choirs also worked together in a recording of Stabat Mater and Sept Répons de Ténèbres (Francis Poulenc), released in 2014 by Harmonia Mundi.

In September 2014 the cd Warum, choral works of Brahms, sang by Cappella Amsterdam was released. It won the Preis der deutschen Schallplattenkritik beginning 2015.

Daniel Reuss has been invited to conduct chamber ensembles and orchestras throughout Europe. Among these may be mentioned the Akademie für Alte Musik Berlin, MusikFabrik, Scharoun Ensemble and the Radio Chamber Philharmonic.

From 2015 Daniel Reuss is chief conductor of Ensemble Vocal Lausanne.

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