Heavenly Bach - Arias & Cantatas of J.S. Bach Amanda Forsythe, Apollo's Fire & Jeannette Sorrell

• Johann Sebastian Bach (1685 - 1750): Jauchzet Gott in allen Landen!, BWV 51:
• 1Bach: Jauchzet Gott in allen Landen!, BWV 51: I. Aria, Jauchzet Gott in allen Landen!04:16
• 2Bach: Jauchzet Gott in allen Landen!, BWV 51: II. Recitative, Wir beten zu dem Tempel an02:19
• 3Bach: Jauchzet Gott in allen Landen!, BWV 51: III. Aria, Höchster, mache deine Güte04:58
• 4Bach: Jauchzet Gott in allen Landen!, BWV 51: IV. Chorale, Sei Lob und Preis mit Ehren03:31
• 5Bach: Jauchzet Gott in allen Landen!, BWV 51: V. Aria, Alleluja!02:07
• Johannespassion, BWV 245, Pt. 2:
• 6Bach: Johannespassion, BWV 245, Pt. 2: XXI. Aria, Zerfliesse, mein Herze06:57
• Weichet nur, betrübte Schatten, BWV 202:
• 7Bach: Weichet nur, betrübte Schatten, BWV 202: I. Aria, Weichet nur, betrübte Schatten06:39
• 8Bach: Weichet nur, betrübte Schatten, BWV 202: II. Recitative, Die Welt wird wieder neu00:28
• 9Bach: Weichet nur, betrübte Schatten, BWV 202: III. Aria, Phoebus eilt mit schnellen Pferden03:14
• 10Bach: Weichet nur, betrübte Schatten, BWV 202: IV. Recitative, Drum sucht auch Amor sein Vergnügen00:42
• 11Bach: Weichet nur, betrübte Schatten, BWV 202: V. Aria, Wenn die Frühlingslüfte streichen03:02
• 12Bach: Weichet nur, betrübte Schatten, BWV 202: VI. Recitative, Und dieses ist das Glücke00:44
• 13Bach: Weichet nur, betrübte Schatten, BWV 202: VII. Aria, Sich üben im Lieben04:18
• 14Bach: Weichet nur, betrübte Schatten, BWV 202: VIII. Recitative, So sei das Band der keuschen Liebe00:23
• 15Bach: Weichet nur, betrübte Schatten, BWV 202: IX. Aria, Sehet in Zufriedenheit02:37
• Johannespassion, BWV 245, Pt. 1:
• 16Bach: Johannespassion, BWV 245, Pt. 1: IX. Aria, Ich folge dir gleichfalls03:33
• Total Runtime49:48

Info for Heavenly Bach - Arias & Cantatas of J.S. Bach

Billboard chart-topping and Grammy winning Jeannette Sorrell, baroque orchestra Apollo's Fire, soprano Amanda Forsythe and the music of J S Bach create a divine musical partnership.

Heavenly Bach pairs two of the composer's most popular cantatas, interspersed with two sublime arias from the St. John Passion. In Jauchzet Gott in allen Landen! ( Shout to joy for God in every land!), Forsythe's dazzling virtuosity hits the high notes - she" sets arias on fire" according to BBC Music Magazine, whilst the secular 'Wedding Cantata' exudes a joyous and evocative marriage in springtime, for a result that is heavenly indeed.

Soprano Amanda Forsythe enjoys bringing virtuoso artistry to major stages on both sides of the Atlantic. Praised as "simply dazzling" (NEW YORK TIMES), she has appeared repeatedly at such venues as the Royal Opera House at Covent Garden and the Rossini Festival in Italy. She is a frequent soloist with the Boston Early Music Festival, with whom she can be heard on the GRAMMY winning recording of Charpentier's La descente d'Orphée aux enfers.

Amanda Forsythe, soprano
Apollo’s Fire
Jeannette Sorrell, conductor & harpsichord
René Schiffer, continuo cello

Amanda Forsythe
The American soprano Amanda Forsythe, highly praised for her performances on both sides of the Atlantic, sang Euridice on the recording of Charpentier’s La descente d'Orphée aux enfers with the Boston Early Music Festival which won the 2015 GRAMMY AWARD for Best Opera Recording. Her highly acclaimed CDs have included her début solo album of Handel arias "The Power of Love" with Apollo’s Fire on the Avie label. She recently toured with the outstanding French countertenor Philippe Jaroussky, performing works based on the Orfeo myth, and subsequently recorded the role of Euridice in a new edition of Gluck’s Orfeo for the ERATO label.

Equally at home on the concert platform and on the opera stage, in recent seasons Amanda Forsythe’s major engagements have included Mendelssohn’s A Midsummer Night’s Dream with the Boston Symphony under Andris Nelsons and the Los Angeles Philharmonic under Susanna Mälkki, Handel’s Sileti venti and Laudate pueri with the Chicago Symphony Orchestra under Nicholas Kraemer, Messiah with Seattle Symphony, Bach's Magnificat and concert performances as Marzelline Fidelio with the Accademia Nazionale di Santa Cecilia under Sir Antonio Pappano. Following performances as Amour in Gluck’s Orphée at London’s Royal Opera House, she participated in tours of this work, and of Mozart's C Minor Mass and Requiem with the Monteverdi Choir and Orchestra under Sir John Eliot Gardiner.

She is a regular soloist with the highly acclaimed baroque ensembles Philharmonia Baroque Orchestra (PBO), Apollo’s Fire, Handel and Haydn Society, Boston Baroque, Pacific Musicworks, the Boston Early Music Festival, and the Monteverdi Choir and Orchestra. She sang the title role of Teseo with PBO at the Tanglewood and Mostly Mozart Festivals under Nicholas McGegan, and made her début at the Oregon Bach Festival in Bach’s Mass in B Minor and Magnificat under Matthew Halls.

Amanda Forsythe made her USA stage début with the Boston Early Music Festival, where her many roles have included Poppea and Drusilla L’incoronazione di Poppea, Niobe and Manto (recording) in Steffani's Niobe, regina di Tebe, Aglaure Psyché (Lully), Venus Venus and Adonis (John Blow), Pallas The Judgment of Paris (Eccles), Isabelle Le Carnaval de Venise (Campra), Serpina La serva padrona and Edilia Almira, Königin von Castilien, for which she received rave reviews. Having made her début at Seattle Opera as Iris Semele, Amanda Forsythe recently returned there to sing Pamina Die Zauberflöte. Her operatic repertoire also includes Poppea Agrippina, the title role in Partenope, Dorinda Orlando, Amenaide Tancredi, Bastienne Bastien und Bastienne, Ninfa/Proserpina Orfeo, Amore Il ritorno d’Ulisse in patria, Oberto Alcina, Dafne Apollo e Dafne, Atalanta Xerxes, Vagaus Juditha Triumphans and roles in Les Indes Galantes and The Fairy Queen.

She made her European operatic début in the role of Corinna Il viaggio a Reims at the Rossini Opera Festival in Pesaro, subsequently returning to perform Rosalia L’equivoco stravagante, and Jemmy Guillaume Tell, described by one critic as “…the best singing of this crucial part I’ve ever encountered...”. At her invitation, Amanda Forsythe joined the distinguished American mezzo soprano Joyce di Donato in a performance of Bellini duets in the festival’s ‘Malibran’ recital.

Major European opera house engagements have included Dalinda Ariodante in Geneva and Munich and Barbarina Le nozze di Figaro,Manto in Steffani’s Niobe, regina di Tebe, Amour in Gluck’s Orphée and Nannetta Falstaff at London’s Royal Opera House. Her performance as Nannetta was described by Gramophone Magazine as “meltingly beautiful”.

Major engagements in 2018 include her return to the Chicago Symphony to sing Schubert's Mass No 6 in E Flat under Riccardo Muti and Messiah under Matthew Halls, Alexander’s Feast with Tafelmusik, Iole Hercules with the Handel and Haydn Society and performances with Boston Early Music Festival, Boston Baroque, Apollo’s Fire, St Paul Chamber Orchestra, Pacific Musicworks, the Kymi Sinfonietta, and Charlotte Symphony.

Forthcoming opera engagements include her début at the Rome Opera as Pamina, and Steffani's Orlando Furioso (Angelica) at the 2019 Boston Early Music Festival.

Amanda Forsythe’s recordings include Venus Venus and Adonis, Aglaure in Lully’s Psyché, and La Grande Pretresse in Lully’s Thésée with the Boston Early Music Festival (all for CPO), Manto in Steffani's Niobe with BEMF (Erato), the title role in Handel’s Teseo with Philharmonia Baroque (PBO’s own label), Bach's St. John Passion and Messiah with Apollo’s Fire (Avie), Dorinda Handel’s Orlando with Early Music Vancouver (ATMA) and Haydn’s Creation with Boston Baroque (Linn). She also sings on the DVD recordings of the Pesaro productions of L'equivoco stravagante and Guillaume Tell as well as Manto in the Royal Opera production of Steffani’s Niobe (Opus Arte). Her latest CD of Steffani duets with the Boston Early Music Festival was awarded the Diapason d'Or in January 2018.

Booklet for Heavenly Bach - Arias & Cantatas of J.S. Bach