A—Ky—Smooth, flowing processional; sober, churchy; request rather than cry to the heavens
A—Ch— Sarah Wegener; sweetly operatic, but definitely meaningful and dramatic, with a couple of tragic gasps near the end
A—Gl—Smooth, restrained, still joyful; crisp melismas
A—LT— Sophie Harmsen; playful, jaunty introduction; flirty tavern song; in B section, she takes an extra grace note and the oboe plays along perfectly (Christie and Arman versions also do this); excellent version
A—Gr—More flowing than assertive; restrained, almost gentle
A—DD—Smooth, integrated; lovely duet, but no battle
B—QT—Smooth, swaying, hymnlike; no jagged edges, no pain; not a cakewalk, more like a stroll to Golgotha
A—Qu—Unhurried, smooth, flowing pace; lovely, well-blended voices, but they have their backs to each other and aren’t really conversing; consistent with “Domine Deus” approach
A—JC—Same
A—CSS—Smooth, sighing, restrained, including the lead-in to the climactic cadence, which is usually belted out (an unusual sound); the cadence itself builds nicely to the only loud part
A—Cr—Trumpets and timpani at the first measure leave open the possibility of chickens opposite choral entrance; no chickens; gently cantering, not galloping; “festive” instruments wasted with smooth, restrained sound, sound like rumbles of thunder
A—Et—Sarah Wegener; gentle, swaying, unhurried pace; sweetly longing love song; tender, if not intimate; some awkward breaths; wheezy bassoon player; lovely cadenza (except for the aforementioned bassoon)
A—S—Finally, a little energy and volume; sublime soaring sopranos at “Domine Deus Sabbaoth”
A—H—Smooth and flowing, more respectful than joyous; crisp melismas; restrained ending doesn’t bode well for repeat after “Benedictus”
A—B—Smooth, unhurried; again, lovely quartet, good voice blending, but no energy or eye contact; they’re looking at their music and turning pages; and wimpy legato strings at B; at least the final “Hosanna” is punched up enough to wake the audience