Christiane Libor

Christiane Libor – Messe glagolitique – Sinfonietta (2011)
FLAC (tracks) 24 bit/96 kHz | Time – 01:02:53 minutes | 1,07 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Naxos

In foggy distances my cathedral grew, huge as mountains and the vault of heaven; the bells of the sheep worried about the ringing. I hear a high priest in the tenor solo, a girl, an angel in the soprano, and the Czech people in the choir“. This is how Janáček characterizes his “Mša glagolskaya”, completed in just a few intoxicating late summer weeks of the year 1926. Not exactly a Christian confession, which the former monastery pupil and rain choir of the Brno Augustinian Monastery makes two years before his death.

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Christiane Libor – Dvořák: Requiem, Op. 89 (2014)
FLAC (tracks) 24 bit/96 kHz | Time – 01:37:46 minutes | 1,67 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Naxos

Antoni Wit conducts the Warsaw Philharmonic Orchestra on this performance of Dvořák’s Requiem featuring the Warsaw Philharmonic Choir and a cast including soprano Christiane Libor, alto Ewa Wolak and tenor Daniel Kirch. Dvořák’s huge popularity in England was built largely on the success of his Stabat Mater, which he had conducted there. It was well suited to the country’s choral traditions and led eventually to a commission for this Requiem which enjoyed immediate success.

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Christiane Libor – Brahms: Ein Deutsches Requiem (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 01:15:12 minutes | 1,30 GB | Genre: Classical Music
Studio Masters, Official Digital Download | Front Cover | © 2xHD – Naxos

Antoni Wit and the Warsaw Philharmonic Orchestra and Choir follow their successful recording of Brahms choral music with this highly praised presentation of the longest work in Brahms’s entire oeuvre, A German Requiem. Baritone Thomas E. Bauer and soprano Christiane Libor are the featured soloists on this emotional composition, triggered most likely by the death of Brahms’s mother and inspired by the death years earlier of his friend Robert Schumann. Taking inspiration from Bach’s contrapuntal genius but avoiding overt religious tradition, Brahms chose the texts himself, placing an emphasis on an affirmation of life.

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