Georg Philipp Telemann: Lukaspassion 1744 Junker, Kristjánsson, Schmitt, Nagy, Dresdnerner Kammerchor, Wrocław Baroque Orchestra & Jarosław Thiel

• Georg Philipp Telemann (1681 - 1767): Lukaspassion, TWV 5:29:
• 1 Telemann: Lukaspassion, TWV 5:29: Sonata 02:58
• 2 Telemann: Lukaspassion, TWV 5:29: No. 1, Wann meine Sünd’ mich kränken 00:55
• 3 Telemann: Lukaspassion, TWV 5:29: No. 2, Und er ging hinaus 02:34
• 4 Telemann: Lukaspassion, TWV 5:29: No. 3, Wer fleißig betet 00:31
• 5 Telemann: Lukaspassion, TWV 5:29: No. 4, Da er aber noch redete 00:37
• 6 Telemann: Lukaspassion, TWV 5:29: No. 5, Die freundlichsten Küsse 06:38
• 7 Telemann: Lukaspassion, TWV 5:29: No. 6, Da aber sahen 00:10
• 8 Telemann: Lukaspassion, TWV 5:29: No. 7, Herr, sollen wir mit dem Schwerte 00:17
• 9 Telemann: Lukaspassion, TWV 5:29: No. 8, Und einer aus ihnen 01:31
• 10 Telemann: Lukaspassion, TWV 5:29: No. 9, Wie sich ein winz’ges Lüftchen regt 06:04
• 11 Telemann: Lukaspassion, TWV 5:29: No. 10, Sie griffen ihn aber 02:58
• 12 Telemann: Lukaspassion, TWV 5:29: No. 11, Du, o ewiges Erbarmen 05:16
• 13 Telemann: Lukaspassion, TWV 5:29: No. 12, Die Männer aber 00:16
• 14 Telemann: Lukaspassion, TWV 5:29: No. 13, Weissage uns 00:16
• 15 Telemann: Lukaspassion, TWV 5:29: No. 14, Und viele andere Lästerungen 00:24
• 16 Telemann: Lukaspassion, TWV 5:29: No. 15, Bist du Christus 00:15
• 17 Telemann: Lukaspassion, TWV 5:29: No. 16, Sage ich’s euch 00:50
• 18 Telemann: Lukaspassion, TWV 5:29: No. 17, Bist du denn Gottes Sohn 00:20
• 19 Telemann: Lukaspassion, TWV 5:29: No. 18, Er sprach zu ihnen 00:11
• 20 Telemann: Lukaspassion, TWV 5:29: No. 19, Ihr werdet mich sehen 05:25
• 21 Telemann: Lukaspassion, TWV 5:29: No. 20, Sie aber sprachen & No. 21, Was dürfen wir weiter Zeugnis 00:31
• 22 Telemann: Lukaspassion, TWV 5:29: No. 22, Und der ganze Haufe 00:12
• 23 Telemann: Lukaspassion, TWV 5:29: No. 23, Diesen finden wir 01:00
• 24 Telemann: Lukaspassion, TWV 5:29: No. 24, Pilatus aber 00:29
• 25 Telemann: Lukaspassion, TWV 5:29: No. 25, Er hat das Volk erregt 00:39
• 26 Telemann: Lukaspassion, TWV 5:29: No. 26, Da aber Pilatus 01:26
• 27 Telemann: Lukaspassion, TWV 5:29: No. 27, Schönste Freundin 06:26
• 28 Telemann: Lukaspassion, TWV 5:29: No. 28, Auf den Tag 01:21
• 29 Telemann: Lukaspassion, TWV 5:29: No. 29, Hinweg 00:19
• 30 Telemann: Lukaspassion, TWV 5:29: No. 30, Dieser war in einem Aufruhr 00:26
• 31 Telemann: Lukaspassion, TWV 5:29: No. 31, Kreuzige ihn 00:16
• 32 Telemann: Lukaspassion, TWV 5:29: No. 32, Er aber sprach 01:12
• 33 Telemann: Lukaspassion, TWV 5:29: No. 33, Deiner Feinde 04:28
• 34 Telemann: Lukaspassion, TWV 5:29: No. 34, Und als sie ihn hinführeten 00:45
• 35 Telemann: Lukaspassion, TWV 5:29: No. 35, Ach, klage 03:12
• 36 Telemann: Lukaspassion, TWV 5:29: No. 36, Jesus aber 03:12
• 37 Telemann: Lukaspassion, TWV 5:29: No. 37, Er hat andern geholfen 00:29
• 38 Telemann: Lukaspassion, TWV 5:29: No. 38, Es spotteten 00:10
• 39 Telemann: Lukaspassion, TWV 5:29: No. 39, Bist du der Juden König 00:47
• 40 Telemann: Lukaspassion, TWV 5:29: No. 40, Es war auch oben 02:09
• 41 Telemann: Lukaspassion, TWV 5:29: No. 41, Holdselige Worte 06:00
• 42 Telemann: Lukaspassion, TWV 5:29: No. 42, Und es war 01:32
• 43 Telemann: Lukaspassion, TWV 5:29: No. 43, Ich befehl’ 06:23
• 44 Telemann: Lukaspassion, TWV 5:29: No. 44, Und als er das gesaget 00:54
• 45 Telemann: Lukaspassion, TWV 5:29: No. 45, So fahr’ ich hin 01:23
• Total Runtime 01:24:07

Info for Georg Philipp Telemann: Lukaspassion 1744

Telemann's St Luke Passion from 1744 is characterised by dramatic turbo choruses that make their way into the hearts of listeners. The work stands out from Telemann's huge oeuvre - he wrote 46 great passions, five of which are based on the Evangelist Luke - due to the particular splendour of sound in its choruses. Short and concise choral interjections such as ‘Weissage uns’, ‘Kreuzige ihn’ and ‘Bist Du Christus’ show how clearly Telemann's word-sound relationship is conceived and how it aims for an extremely concise declamation. A power unfolds that is immediately captivating.

The Dresden Chamber Choir, founded by Hans-Christoph Rademann in 1985, is starting its anniversary year with the release of this great passion. The choir, which is internationally recognised for its outstanding sound culture, will perform the work together with the Wroclaw Baroque Orchestra under the direction of Jaroslaw Thiel. The soloists are Sophie Junker, Benedikt Kristjánsson, Maximilian Schmitt and Michael Nagy.

Sophie Junker, soprano
Benedikt Kristjansson, tenor, evangelist
Maximilian Schmitt, tenor
Michael Nagy, bass
Dresden Chamber Choir
Wroclawska Orkiestra Barokowa
Jaroslaw Thiel, conductor

Sophie Junker
Soprano Sophie Junker, originally from Belgium, studied singing at the Institut supérieur de Musique et de Pédagogie in Namur and at the Guildhall School of Music and Drama in London. After completing her studies, she achieved her international breakthrough in 2010 when she won the Handel Competition in London. In 2012, she won the international Cesti Competition at the Innsbruck Early Music Festival. Following her rapid rise, she now works regularly with leading conductors. She has performed under the musical direction of Harry Bicket as Dorinda in Orlando, under Laurence Cummings as the Israelite Woman in Handel's Esther, and Sigismondo in Handel's Arminio at the Göttingen Handel Festival. She has sung the Italian Woman in Charpentier's Médée under Christian Curnyn at the English National Opera, Phoebe in Rameau's Castor et Pollux, and Zerlina in Don Giovanni under Stefano Montanari. Her voice has been described by Opera magazine as "irresistibly enchanting." Sophie Junker performs regularly at the Royal Opera of Liège Wallonie, where her roles have included Wanda in Offenbach's La Grande Duchesse de Gérolstein and the title role in Pauline Viardot's Cendrillon. At the Angers Nantes Opera, she sang Amour in Gluck's Orphée et Eurydice. In 2016, she made her American operatic debut, singing Cleis in Martini's Sappho and Hélène in Chabrier's Une Éducation Manquée at the Opera Lafayette in New York and Washington. Other operatic roles include Caio in Vivaldi's Ottone in Villa at the Copenhagen Opera Festival, Proserpine and Euridice in Charpentier's La Déscente d'Orphée aux enfers at London's Wigmore Hall and in The Hague, and Belinda in Purcell's Dido and Aeneas at the Innsbruck Early Music Festival.

Benedikt Kristjansson
was born in in Húsavík, Iceland. He started singing lessons at age of 16 under the tutelage of his mother, Margrét Bóasdóttir, at the Reykjavik Academy of Singing and Vocal Arts in Iceland.

Benedikt graduated from the Reykjavík Conservatory of Music in 2007. He studied with Professor Scot Weir at the Hochschule für Musik “Hanns Eisler” Berlin, and graduated with honors. He has participated in Masterclasses in Europe by renowned Singers such as Christa Ludwig, Peter Schreier, Elly Ameling, Robert Holl, Thomas Quasthoff, Andreas Schmidt and also the Lied-Pianist Helmut Deutsch.

Benedikt won the 1st Prize of the International Bach Vocal Competition in Greifswald in 2011, and was also awarded the Audience Award. He was the Winner of the Audience Award in the International Bach Competition in Leipzig 2012. ​

In 2019 he received the OPUS Klassik award in the category “Innovative Concert”, with a version of the St.John Passion by Bach, arranged for Tenor, harpsichord and diverse Percussion instruments.

As a Concert singer Benedikt has performed in many Concert Halls in Europe and the USA, such as Konzerthaus Vienna, Berlin Philharmonie, Chapelle Royal in Versailles, Walt-Disney Hall, Los Angeles and Concertgebouw Amsterdam with Orchestras such as Staatskapelle Berlin, Deutsche Kammerphilharmonie Bremen, Gaechinger Cantorey, Hofkapelle München, Holland Baroque, Dresdner Barockorchestra, Nederlandse Bachverening, Akademie für Alte Musik Berlin, and Freiburger Barockorchestra.

Benedikt has worked with many internationally acclaimed Conductors such as Reinhard Goebel, Reinbert de Leeuw, Vaclav Luks, Vladimir Jurowski, Peter Dijkstra, Hans-Christoph Rademann and Philipe Herreweghe.

Benedikt has performed Opera in Theater Kiel, Staatstheater Braunschweig and at the Staatsoper in Berlin, singing both baroque and modern repertoire. He is a frequent performer at Festivals, such as Bachfest Leipzig, Musikfest Stuttgart, Thüringer Bach-Wochen, Händelfestspiele Halle, Festival Bach Montréal, Festival Oude Muziek in Utrecht, as well as being an Artist in Residence at the Beethovenfest in Bonn in 2022.

In 2019 he released his first solo-CD, “Drang in die Ferne”, which received critical acclaim s in Germany. The program of the CD is a mixture of Icelandic Folksongs and song by Franz Schubert. The CD was nominated at both OPUS Klassik, and ICMA (International Classical Music Awards).

Maximilian Schmitt
completed his vocal studies at the Berlin University of the Arts with Anke Eggers; he was subsequently accepted into the Young Ensemble of the Bavarian State Opera. From 2008 to 2012, Maximilian Schmitt was a member of the ensemble at the Mannheim National Theatre, where he worked on roles such as Tamino (Die Zauberflöte), Don Ottavio (Don Giovanni), Belmonte (Die Entführung aus dem Serail) and Ferrando (Così fan tutte), David (Die Meistersinger von Nürnberg) and Lenski (Eugene Onegin). Maximilian Schmitt made his debut as Tamino at the Amsterdam National Opera, as Don Ottavio at the Vienna State Opera and as Pedrillo (Die Entführung aus dem Serail) at the Teatro alla Scala. He also has roles from the repertoire of a young heldentenor. He made his role debut as Max (Der Freischütz) at the Aalto Theatre in Essen and his debut as Erik (Der fliegende Holländer) at the Graz Opera. In the 2023/24 season, Maximilian Schmitt will make his role debut as Siegmund (Die Walküre) with Concerto Köln under the direction of Kent Nagano. At the Semperoper Dresden, Maximilian Schmitt will appear as Max in Der Freischütz.

Michael Nagy
studied singing, song interpretation and conducting in Mannheim and Saarbrücken. He was a member of the ensembles of the Komische Oper Berlin and the Frankfurt Opera. Guest appearances have taken him to the Deutsche Oper Berlin, the Vienna State Opera, the Grand Théâtre de Genève, the Zurich Opera House, the Opéra national du Capitole in Toulouse, Den Norske Opera in Oslo, New York's Carnegie Hall and the festivals in Salzburg, Bayreuth and Baden-Baden. His repertoire includes roles such as Papageno (Die Zauberflöte), Count Almaviva (Le nozze di Figaro), Wolfram von Eschenbach (Tannhäuser), Kurwenal (Tristan und Isolde), Don Alfonso (Così fan tutte), Jeletzki (Pique Dame), Valentin (Faust), Frank/Fritz (Die tote Stadt) and Jason in Aribert Reimann's Medea as well as the title roles in Don Giovanni and Owen Wingrave. At the Bayerische Staatsoper, he sang Amfortas (Parsifal), Ratefreund (Die Vögel), Der Graf (Capriccio) and the title role in Eugene Onegin, among others. In the 2024/25 season, he can be seen as Nekrotzar in Le Grand Macabre.

Booklet for Georg Philipp Telemann: Lukaspassion 1744