Why is so much Christmas music maudlin

Concerts with Joachim Held (lute)

Opening concert at the KlosterKlangFestival (October 7, 2017 Loccum) with Joachim Held and Wolf Böwig.
Construction site freedom. The musical part of the evening was organized by two outstanding artists, who have received international awards: the soprano Bettina Pahn and the lutenist Joachim Held. With what intimacy and weightless lightness of her wonderfully guided soprano voice, the singer Martin Luther designed "a solid castle", and how emphatically his "Grant us peace graciously", and then pleadingly "Out of deep need I cry to you". From Paul Gerhardt then touching the heart "how is the burden so big and heavy", "how should I receive you" and "O head full of blood and wounds" The singer has precious vocal material, which she sounds splendidly with the purest diction and the finest musical expression Fulfills.

The rake - 9.10.2017, Uta von Sohl

Historical sound in concert. Alternative New Year's Eve concert thrilled its audience.
City center. The alternative New Year's Eve concert in Rostock's St. Johannis Church, the alternative to the cultural annual jubilation, was presented in a new light. Baroque music was again played in its quieter, more intimate forms as musica camerata. This time, however, not purely instrumental, but vocal with the voice of the Hamburg soprano Bettina Pahn, a stylish specialist in baroque singing. She was accompanied by Joachim Held on the lute, one of the leading masters of this instrument, and by St. Johannis Cantor Markus Johannes Langer on the chest organ. This combination resulted in a historical sound image of unusual delicacy and purity, in which Bettina Pahn first sang sacred songs and arias of the early Baroque: the voice is very controlled, based on the declamation of the text, not yet aimed at the splendid development of sensuality, but with characteristic use of vowel colors, with a piano that could die down to a whisper and yet remained sonorous, and occasionally blooming melisms. Joachim Held rounded this off with polyphonic solo pieces by the baroque lute virtuosos Piccini and Weiss to the picture of making music of the very subtle differences, for which we were able to prick up our ears, which are now mostly coarser. The second part jumped into the high baroque Bach era. Held changed the lute, picked up a 14-string instrument with ten sympathetic strings, and Bettina Pahn opened her voice, gave her warmth and even more artistry, and sang sacred songs by Bach with it; and Langer contributed his prelude and fugue in F sharp minor. They gave the cautiously festive conclusion together with a solo cantata by Böddecker from the period between early and high baroque, alternating artistic singing and simple folk tone. Even so, you can go into the new year musically - contemplative and at the same time in mental hygiene.

Ostsee Newspaper - 4.1.2016, Heinz-Jürgen Staszak

Ettenheim Baroque joie de vivre in Altdorf Castle.
Altdorf (mm). “Baroque lust and a lot of humor came together at the third concert as part of the Ettenheim Music Summer to create a musical" Tafel-Confect ". Lutenist Joachim Held and soprano Bettina Pahn performed as a well-established duo in the library of Altdorf Castle in Türckheim. ........ Bettina Pahn contributed the humorous part with baroque texts and a gorgeous soprano voice. Georg Phillip Telemann performed three humorous old-style songs. "Time" consumes its own children, namely from hours to years. No less amusing: "Avarice". It says: "You live poor and die rich, collect for laughing heirs!" "Das Glück" turns out to be lazy and quite sleepy. While Johann Phillip Krieger's "Loneliness" blew through the old library, things were quite edifying with Valentin Rathgeber's "Von allerhand Nasen". Pahn convinced with great expressiveness and confident tone jumps. No less brilliant: Joachim Held on his multi-stringed lutes, from which he elicited the most complicated chords with great sensitivity. ... "

Lahr newspaper - 16.7.2015

Moral cantatas on "Time", "Luck" and "Avarice".
Joachim Held and Bettina Pahn perform three pieces by Teleman in Schloss Altdorf.

"The friends of old music got their money's worth in the concert by Joachim Held (lute) and Bettina Pahn (soprano) as part of the Ettenheim Music Summer Moral cantatas by Georg Philipp Telemann (1681 - 1767) included three - "Time", "Happiness" and "Avarice" - Bettina Pahn, who is still an insider tip among specialists in early music, although she Already a long-term collaboration with the Amsterdam conductor Ton Koopman connects, sings with a fine lyrical soprano and an impressive technique, very clean, the coloratura slim, well-managed and flowing, the tone completely devoid of air and expressive.
After Telemann's "Zeit", Joachim Held took up the theorbo, a bass lute with an elongated neck, and played the suite in D minor from the early work by Silvius Leopold Weiß (1687 - 1750), composed in Venice in 1712. The four-movement suite, overture, bouree, menuet and gigue, has an open character, a soft sound and is repeatedly characterized by descending lines. With "Gebet Rat" and "Von allerhand Nasen" by Jakob Kremberg (1650-1718) and Valentin Rathgeber (1682-1750) it becomes quite enjoyable and the tongue-in-cheek humorous side of the baroque world of emotions is presented when the different noses, big and small , old, young, fat, thin, long, short and even more are sung about. "Sleep, meanwhile, dear happiness, think back to me for a while" it says in Telemann's Glücks cantata, in which happiness is always recommended to get up in the morning. The design is very precise and beautiful in expression.
After the break, Joachim Held presents a fine suite by an anonymous composer, which begins with a lovely theme in the Adagio, followed by a boyish Courante, also here with a soft sound, a floating, richly decorated sarabande and finally a gigue, which is played with ease moves forward fresh and virtuoso. Two songs by Andreas Hammerschmidt (1611 - 1675) first give the concert a cloudy color, "the melancholy", then a cheerful one with the "art of kissing" - "not too dry, not too wet". The "loneliness" by Johann Philipp Krieger (1649 - 1725), the "agony of hearts", allows a wonderful vibrato to be heard, the singer lets the tone grow big and creates deeply. Another cheerful, tongue-in-cheek piece by Telemann deals with the play on words "drown" and "drunk": "About Lower Saxony's Versapen".
At the end of the concert there is Telemann's "avarice", which once again underlines the beautiful quality of the presentation by the two Echo Prize winners. There is plenty of applause and an encore. "

badish newspaper - 13.7.2015

Benrath. Musical excursion into the world of nobility - soprano Bettina Pahn and lutenist Joachim Held delighted at the concert.
"... With stories like these, presenter Winfried Fechner aroused the audience's interest in the finely set madrigals John Dowland, with whose melodious sound Bettina Pahn and Joachim Held began their program in the vestibule of Schloss Benrath. Preludium ", before Bettina Pahn sang three of Dowland's most famous madrigals with a beautiful soprano:" If my complaints "," Fine knacks for ladies "and" Go, crystal tears ". Admirable how she presented the little stories of love affliction and crystal tears to the listeners Excellent comprehensibility of the text and dynamism appropriate to the verses combined with fine voice guidance to a musical experience that carried the listener to Elizabethan London in the 16th century. Dowland's "Come Again" was a splendid conclusion, for which there was great applause the doors to the domed hall ...
With madrigals by Frescobaldi and Caccini, Bettina Pahn sang the tenderest sighs, the pain of love and the beautiful Amarillis to Joachim Held's delicate sounds. In small cantatas by Telemann, Hammerschmidt and Rathgeber, she conjured sleepy happiness, fell into melancholy and made the art of kissing clear. It is hardly surprising that the two soloists were not released without an encore. And so Bettina Pahn and Joachim Held sent the visitors on their way home with a wonderfully played "The moon has risen".

Rheinische Post - 4.5.2015, Horst Schaumann

"Effective and virtuoso. Bettina Pahn and Joachim Held at the International Music Days "Speyer Cathedral"
Sacred songs and arias from the Baroque era were on the program of the most recent crypt concert at the International Music Days "Dom zu Speyer"; With the soprano Bettina Pahn and the lutenist Joachim Held, two proven and much sought-after specialists in early music could be heard.
Bach's Schemelli songs with their pious, pietistic character were probably intended for the musical arrangement of house devotions. Pahn filled the simple character of these song-like chants with sweet sensuality. The soprano created these songs tenderly and with heartfelt feeling, combining pious confidence and godly religious expression. The singer formed sensual, supple vocal arcs in the most beautiful intimacy; and it meant that silent pianissimo shades achieve the finest effect.
From Heinrich Schütz's "Little Sacred Concerts", the duo of interpreters brought two songs from the day before; the Monteverdi influence was unmistakable in the madrigalesque, affective, very Italian arias. In delicate ornamental singing, the soprano formed the "Hurry me, God, to save" between lament and plea. Her lecture "O Jesu, nomen dulce" was also rich in sensations and shades of color. Here the interpreter delighted with gently glowing crescendos and gently curved ornaments that seamlessly united joy and song.
In Johann Wolfgang Franck's cantata "Oh Lord, did not punish me in your anger", the singer formed supple arches over feather-light coloratura and heartfelt feelings; it united the different into a unified expression of the heart. Joy-filled virtuosity and quiet sorrow merged seamlessly - perfectly connected by the wonderfully soft, swinging tones.
Held accompanied the songs and arias very sensitively on the baroque lute and the chitarrone. He let the expression of the singing continue to vibrate intimately and yet eloquently in his playing. Held interludes the chants with solo pieces. He played Bach on the baroque lute - quietly reflecting on the sounds and richly decorated, filled with beautiful gradations, elastic in the rubato design, animated by small delays and accelerations, the polyphony of the sounds fanned out very transparently.
And the lutenist also developed a passion for dancing in three sets of suites; he let the barrels fly over there, gently pearling. Held played two pieces by Allessandro Puccinini on the chitarrone, opening a colorful, dancing festival of the senses in the Ciacona. "

The Rhine Palatinate - 28.9.2012, Rainer Köhl

"Baroque songs sung to the lute. At the 26th Chamber Concert of the Salzlandsparkasse, songs by composers from the 18th century were performed.
BERNBURG / MZ / JE - The Bernburg music lovers were invited to the last concert of the popular chamber concert series of the Salzlandsparkasse together with the music school on Sunday. A special concert was offered with a program that featured several long-forgotten composers of the 18th century with their works at chamber concerts and was entitled "Musicalisches Tafelconfect". The lute, which is rarely played today, determined the musical framework for singing. Two important artists for this particular genre of classical music performed the concert. The soprano Bettina Pahn is a singer of these songs recognized in Germany and Europe. She was accompanied by Joachim Held auf der Lute, who has also received several awards for his interpretations. This duo has been performing together for several years in the field of "early music" and has gained an excellent reputation at relevant festivals and concerts. The soprano Pahn has a velvety soprano with great soulful expressiveness, who is also mastered in the highs and maintains its clear articulation. A voice that seems made for the performance of folk songs and other soulful songs. In addition to the folk songs - well-known and no longer known - texts were also performed, the content of which is similar to today's ballads. The accompaniment by Held with the lute was the right accompaniment for this vocal framework with empathy for the vocal variants. Joachim Held had also brought a theorbo for his solo recitals of two sonatas. The theorbo is an instrument that has a wider range of sounds than the lute and can thus interpret more expressive solo works of baroque music. Gentle worlds of sound without intrusive sound elements. Joachim Held proved his high artistic qualification with his playing, not only as a sensitive companion but also as a soloist. An evening of chamber music for the small company, because the counter hall of the Sparkasse was almost too big for these gentle lectures, despite its otherwise very good acoustic conditions - an insignificant flaw that in no way diminishes the artistic performance of the two interpreters, which is due to it the applause of the audience was clearly demonstrated. The audience was bid farewell not only for this evening, but also for this concert year with the folk song "Now ade to the good night".
The audience was enthusiastic about the concert in the Sparkasse. "

26th chamber concert of the Salzlandsparkasse (concert November 6th, 2011)

"Tangible subtleties.
Innsbruck - The third Ambras Palace Concert presented a rarity: German Baroque songs. Apart from Telemann, their composers such as Kremberg, Albert, Hammerschmidt or Krieger are no longer known today. The fashion of gallant lyric poetry provided the texts: often playful and ambiguous personalities sounded, which are left open to interpret them with or without amorous allusions. There was also ambiguity in music: J.Ph. Krieger, for example, ironically broke the sad text about "loneliness" by musically alluding to a sensual, wild and unbridled character using the dance-like bass rhythm of the Chaconne.
The 18th century song aimed for lightness and the impression of effortlessness. That is exactly what Bettina Pahn, soprano, and Joachim Held, theorbo, did very well. Pahn sang in simple naturalness with an unmistakable feeling for melody, in which every ornament rose like an unobtrusive accompanying second voice. With the clear design of the consonants, she was able to clearly express the subtleties of the text content ... "

Tyrolean daily newspaper - 07/28/2011, Fra (Innsbruck Festival of Early Music, concert July 26, 2011)

"Entertaining voyage of discovery into German music history.
"Home game - discover Germany" is the motto of the entire program of the Schleswig-Holstein Music Festival 2009. When the concert in Hohenwestedt was announced, anyone who thought they knew everything that was mentioned in the preview was only partially right: including the title Well-known folk songs were played here in an artistically refined form, and unknown works were also served with works by Adam von Falckenhagen (1697-1754) and Sylivius Leopold Weiss (1687-1750). There was a lot to discover in the concert with Joachim Held (theorbo and lute) and Bettina Pahn (soprano) in the Hohenwestedter Peter-Pauls-Kirche.
Even if there were a lot of well-known things to be heard in the "Musicalisches Tafelkonfekt" this evening - as here you can rarely experience folk songs and art music. Just as Bettiana Pahn and Joachim Held sang and played folk songs like "Do you know how many little stars there are, Listen, what's coming in from outside, All the birds are already there, There were two royal children" or the Low German "Dat du min Leevsten büst" sang and played , let earlier times come to life from the first note: be it your own youth or the baroque with internalized experience.
In the first part of the concert, it was the calm and contemplation that were not yet given, which made life difficult for the two artists in front of the audience, still troubled by the hectic and unrest of a sunny everyday life. For a long time there was talk and whispered comments on what was being heard, so that intimate and expectant contact between the artists and the audience was difficult to achieve. But what you heard from the very first song was simply sensational: Bettina Pahn not only sang the well-known texts, she also reinforced their meaning with finely balanced accentuations and thus ennobled the popular folk song texts.Like Joachim Held in his accompaniment, she uncovered theorbo and lute backgrounds - and thus made the deeper meaning of these popular folk songs aware. Have you ever heard the little stars sung like that? With such a gentle, soft and precise voice? And accompanied so sensitively? This song immediately took a leading place in the earwig memory. The skillful virtuoso accompaniment by Joachim Held, spiced with many small musical extras, also contributed to this, who also enchants with singing in his solo performances. In particular, the G minor Suite for Lute by Sylvius Leopold Weiss did not fail to have an impact in this concerto of soft tones, which inevitably seduced to listen.
In addition, the humor was not neglected: Be it that Joachim Held "fell asleep" like happiness itself before the break in Georg Philip Telemann's "Glück" and had to be woken up or when describing all kinds of noses, avarice or the art of Kissing.
Two encores crowned this voyage of discovery into the German musical history, in particular "The moon has risen" in a very intimate rendering by Bettina Pahn and Joachim Held, which was deeply moved and sometimes moved to tears. "That got under the skin", Willi Biß from Hohenwestedt Marketing aptly described the effect of this song as he went out. Not only that: if you are familiar with fine nuances and sensitive sensations, you will feel as if you have been transported to another time for the whole evening. "

Schleswig-Holstein State Newspaper - 11.8.2009, Fra (Schleswig-Holstein Festival, concert August 6, 2009)

"Telemanns" Tafel-Confect "- Hohenwestedt
"Anyone who puts vocal pieces on the subject of noses in the concert program has fun on their necks: Sparkling with enthusiasm for play, Bettina Pahn (soprano) and Joachim Held (lute and theorbo) presented" Ears-pleasing and mind-idolizing Tafel-Confect "in the Peter-Pauls to 370 listeners -Kirche in Hohenwestedt. Folk songs in Low, Middle and High German, arias and cantatas from the 18th century, plus solo works for lute and theorbo - the program is finely thought out, rich in humor and depth.
It is a pleasure to listen to and see Bettina Pahn staging dramatic twists through to musical exaggeration. The deeply ironic coloring in Georg Phillip Telemann's cantata Der Geiz (TWV 20:26) is illuminated by the singer with the timbre-rich, flexible soprano made of mine play and voice.
An intimate golden tone warms the melancholy (Andreas Hammerschmidt). An infectious smile attracts the audience to the runs of Telemann's cantata Das Glück (TW 20:25), which are rich in trills and leads. As a sensitive companion, Joachim Held becomes an accomplice in his partner's spirited game. When he nods off with a snore - appropriately to the scene - and stops plucking, he gets a pat on the back of the head. "I know that from home," he later reveals, which could contribute to the special harmony of the couple: The musicians are married.
As a soloist, the hero, who was awarded a "Bravo" for Sylvius Leopold Weiss Suite in G minor, fascinated with his in-depth virtuoso playing - the lute player plucked on a replica and an instrument from the Baroque period. "

Kiel news - 8.8.2009, Beate König (Schleswig-Holstein Festival, concert August 6th, 2009)

"A musical delight with soft tones.
Arias and lute music from the Baroque and German folk songs at the Eckelhausener Musiktage.
The musician couple Bettina Pahn and Joachim held are among the top group in the early music scene: the soprano is one of the preferred soloists of the Amsterdam baroque conductor Ton Koopman, the lutenist repeatedly works with the original sound guru Nikolaus Harnoncourt and with such well-known ensembles as "Il Giardino Armonico". At the Eckelshausener Musiktage they offered arias and lute music from the Baroque period alternating with German folk songs in the acoustically ideal former chapel of the Bad Laaspher Wittgenstein Castle - in keeping with the festival theme "Folk tunes".
It was an evening of soft tones: Bettina Pahn spoiled the 100 listeners, including a whole series from Marburg and the surrounding area, with piano and pianissimo delights that are seldom experienced these days. Her slender soprano moved effortlessly and with exemplary text clarity through the ornate arias by Andreas Hammerschmidt, Johann Philipp Krieger and Georg Philipp Telemann - the comedy of his "moral cantatas" was delicious. And the folk songs such as "Do you know how many little stars stand" or the wonderful "Innsbruck, I have to let you" she sang with a warmth and simplicity that went to the heart. This is how these masterpieces have to be sung.
Joachim Held accompanied them with sensitive devotion on a theorbo, a lute with an elongated neck. He played his two solos, a sonata by Adam Falkenhagen and a suite by Sylvius Leopold Weiss, on a 13-course baroque lute, from which he elicited exceptionally sonorous and warm sounds as well as a beguiling variety of colors. A real treat! "

OP - May 30th, 2009, Michael Arndt (Eckelhausen Music Days)

"Love sounds in song and on the lute
How do you kiss properly? The poet Paul Fleming believed he knew: "Not too little, not too much: otherwise both will be child's play. Not too loud and not too soft, both proportion is the right way." And Fleming cites even more examples, always considering the boring middle ground between the extremes. Can you take such advice seriously? The baroque composer Andreas Hammerschmidt, not averse to any scuffle, did not do it and turned the moral text into a delicious duet between the lute and the singing voice.
Love songs of Italian and German provenance from the Baroque period for soprano and lute were on the program of the Musica Antiqua series in the Aufseß-Saal on Wednesday evening. And the kind of lute (or bass lute) that the virtuoso Joachim Held cradles in his lap is not just a small chirping guitar forerunner, but a bulbous instrument, with its long fingerboard, almost head-high with a remarkable reverberation. This is ensured by the additional strings that resonate without being plucked and harmoniously base the sound.
Joachim Held is supported by the soprano Bettina Pahn. With her clear voice, deep empathy and the necessary lack of seriousness, she explored both the depth of soul of the templates and the playful, refined seductiveness of the texts ("Not too dry, not too moist, as Adonis Venus was enough.").
Of course, love songs are about the fact that two must first find each other and suffer agony in the run-up to the fact that chamber doors are locked. But what if the two performers have already found each other? Bettina Pahn and Joachim Held are married to each other in real life. ("Only me and my loved ones know how to kiss properly.") So do they throw longing glances at each other? Do kissing hands fly across the stage? What! The husband is more likely to risk a slap with the sheet of score if he plays music a bit too slowly while being drowsy and lets the happiness that has been sung to fall asleep instrumentally.
Oh, just by listening it is spring in your mind, gentle breezes are blowing and you can already smell imaginary lilac in your nose. Just the nose ("Big, Small, Coarse, Fine") sings about Bettina Pahn in the encore. Oh, why is there no song about the ear that is allowed to receive such a subtle fullness of melodious sound? "

Nuremberg newspaper - 13.3.2009, Reinhard Kalb (Musica Antiqua in the GNM)

The soprano Bettina Pahn and the lutenist Joachim Held played "Sweet Sighs" from the Baroque period. Both are recognized and internationally sought-after specialists for the historical performance of early music and they are almost masterful in the current performance of early music: Bettina Pahn with a colored soprano, the phrasing listened to the flow of oral speech, the arioso bends subtly and dynamically shaded; Joachim Held with two different sounds ... So many strings require a highly virtuoso skill to use them artistically. But in the solo pieces he played by the Italians Piccinini and Kapsberger and the Saxon chamber musician Weiss, Held also demonstrated a polyphonic transparency and such a melodic suppleness that one might think, had he not played with Bettina Pahn, he could sing on the lute. First, the two arias of the Italian early baroque made music from the time when music discovered that it not only had to be strict compositional art, but that it could express feelings, especially the Amors and the "Memento Mori". In the second part then vowels of the German high baroque, the time in which music has long been sure of its means as an art of expression and begins to play with it in a witty and witty way. In both styles, the musicians showed a subtle culture of almost mental hygiene, in which the emotions were not heaved onto the Kothurn. In the Telemann cantatas in particular, Bettina Pahn expanded the impressive spectrum of her careful expression. So they always stayed close to the old music and brought it closer to us today. "

NNN Rostock - 2.3.2009, Prof. Dr. Staszak

"Sigh to smile" - Matinee with Bettina Pahn and Joachim Held.
One could look forward to Joachim Held. He is one of the very few German lutenists who are highly regarded internationally. And you immediately noticed why, because Held is a musician - in the White Hall he played the chitarrone - who analyzes very carefully and develops structures that are very differentiating, who has a broad, colorful repertoire of sounds, and who can also play absolutely cleanly. One could look forward to his colleague, the soprano Bettina Pahn. She turned out to be a singer who masters baroque chamber singing absolutely perfectly, who with her squeaky clean intonation can not only sing a squeaky clean messa da voce, but also improvises in an extraordinarily stylish and tasteful decorating manner. In addition, she knows exactly what she is singing: Her interpretations are always small, highly emotional stories. The "Dolcissimi sospiri", the "sweetest sighs" of the first Italian part were particularly effective, even if they come from a time that has nothing to do with today. But Joachim Held and Bettina Pahn had precisely coordinated their expressive timetables. And with Caccini and Frescobaldi's canzones you didn't have to understand the very well articulated text to know what it was about, not even with the wonderfully intense cantata by Barbara Strozzi .... On the other hand, there were smiles in the German part of the Matinee: with Kremberg's "Gebet Rath, true senses" .... but especially with Telemann's cantatas "Der Geiz" and "Das Glück", in which morally sour complaints and considerations are always followed by a tongue-in-cheek solution. And just to enjoy the instrumental movements by Piccinini, Kapsberger and Weiss, which Joachim Held played between the vocal pieces. That there were also composers with humor in the Rhön during the Baroque period was proven by the delicious encore "Von allerhand Nasen" by Bach contemporary Valentin Rathgeber ..... All in all, a very witty Sunday delight.

Saale newspaper - 30.12.2008, Thomas Ahnert (Kissinger Winterzauber, concert December 28th, 2008)

"Sweet sigh"
The orangery of the Schwetzingen Palace has long proven itself in the accommodation of exotic items. Initially it was palm trees, today it is the series "Lute Music in the Orangery". In the light of the candles, the first two concerts turned out to be an experience in different ways .... Only the next evening the disappointment gave way to great happiness. The soprano Bettina Pahn and the lutenist Joachim Held offered rousing arias and lute music from the baroque era in their program entitled "Süße Seufzer". From the very first note, Pahn sought contact with her listeners in order to share the sung well and woe of love with them. With a clear timbre, she effortlessly alternated between desperation and cheekiness. Thus, "Der Avarice" by G. P. Telemann became a brilliant humorous accusation against pseudo-religious diet mania. The depths full of glow and the highs sung after one or two notes moved in "Fino alla morte" by B. Strozzi. In between, the otherwise exemplary intelligibility of the text suffered from inaccurate consonants. But the effortless mercury in the coloratura made people happy without reservation. What a recovery from today's usual, emotionally kitschy, hovering third-octave vibrato. Her hero was an attentive partner who gave her own impetus. In his solo works he showed himself to be a subtle master of the lyrical with brilliant technique, who explores the tension between tones and harmonies with full energy. The phrasing and tasteful decoration always seemed well thought-out and natural. Only in the dance movements did one wish for more "disco" than "dance school". With him, control and melodic lines go beyond musical pointers in the border area. Sustained applause. "

Mannheim morning - 8.6.2008, Markus Korselt (Schwetzingen Festival, concert on June 5th, 2008)

"So the visitors could come together with the music, more precisely with the German folk song. And the gathering was a pleasure for the concert guests. They enjoyed the clear singing of the soprano Bettina Pahn and the lute play by Joachim Held. [.. .] With a beautiful, smooth expression in her voice, Bettina Pahn sang "Do you know how many little stars there are", "Listen, what's coming in from outside" or "All the birds are already there". [...] gently unfolded the sounds of the lute. Bettina Pahn clearly intoned the songs. Her flawless voice impressed. She skillfully switched between lyrical-dramatic soprano and soubrette for the comic roles. WDR recorded this top-class concert and will broadcast it next year . "

Dortmund north-west - 3.12.2007

"The palace concert was the jewel [...] with two first-class soloists, soprano Bettina Pahn and Echo Klassik award winner Joachim Held [...] As songs of simple beauty, Bettina Pahn sang folk music, some of which has become art songs [...] She made the medieval "Kume, kum, Geselle min" and the folk song "Thoughts are free" sound great joy.

www.westline.de - 6.12.2007

"Art of kissing [...]
And when music and "poetry" are brought together in perfect harmony, the transcendent spheres begin to open up. This could be experienced in the first night concert of the Handel Festival, in which the soprano Bettina Pahn and the lutenist Joachim Held enchanted the audience with word and string play.
Caccini's opening "dolcissimi sospiri" already spoke of such tenderness and longing that many listeners would have liked to join in the sighs. [...] But Bettina Pahn, a master of the implementation of musical rhetoric and intoxicating with her vocal control and variety of timbres, could also speak another language: with cheeky wit and play on words, she taught Hammerschmidt's setting of the art of kissing or questioned with Krembergs Sound their senses for advice in matters of love. "

Göttinger Tageblatt - 30.05.2007

"The baroque masters often attached more importance to the artistic ornamentation and embellishment of the melodies than to the content of the texts. One got an inkling of this in the cheering coloratura and light-winged garlands of the clear soprano voice [...] Hammerschmidt's simpler songs, especially his melancholy, delicately held in the piano, made Bettina Pahn sound particularly intimate and clear as a bell. "

Lindauer Newspaper - 14.05.1998

"Unity of music and space [...] Even with the first work [...] for soprano and lute, the excellent interplay of the two musicians and the great skill of the soprano became clear. Bettina Pahn easily mastered coloratura and the finest dynamic nuances. "

Husum news - 15.07.1997






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There was a king in Thule (1CD, Naxos)
Bettina Pahn (soprano), Tini Mathot (fortepiano)

"They wanted to move away from the artful craft according to classical rules and back to the authentic, natural. Their works shouldn't make an impression, but rather be a" pure expression of feeling ". And this is what the works of the two" Berlin song schools "sound like. Simple, plain and Moving in the best pieces, but in the long run often simple in a negative sense, because we know what the distant future was for Schulz, Reichardt, Zelter and their audience at the end of the 18th and beginning of the 19th century: Schubert and his Successor. Nevertheless, it is nice to be able to hear some of the pearls of these composers, who were very popular at the time. Bettina Pahn sings very beautifully and simply, Tini Mathot accompanies stylishly on the fortepiano. "

Classic Newsletter Berlin, Arnt Cobbers - 06.2015









Styles night, German Christmas carols (1CD, Hänssler Classic)
Bettina Pahn (soprano), Jochim Held (lute)

"When a professional singer sets out to make a disc of traditional songs, the best advice he or she can get is: keep it simple! That is what Bettina Pahn has done, and that is why this disc of traditional Christmas songs is a winner in every respect. Because of the choice of music and the way it is performed, this disc is a treasure.
Let me start by getting my only criticism out of the way: the lyrics are not in the booklet.That is not that much of a problem for those who understand German, thanks to Ms Pahn's excellent diction, but for non-German speakers this is a serious omission. The disc is apparently not just directed to the German market, as the program notes are also in English. But in order fully to enjoy the songs at least English translations should have been given.
A search on the internet is worth the effort: the lyrics of a number of songs can be found, sometimes with a translation. The texts may differ in details as traditional songs sometimes change with time, but they will at least give some idea of ​​what the songs are about.
Bettina Pahn is a young German singer who started to study the cello and later turned to singing. This has been a happy decision as in recent years she has made a good career, both in Germany and internationally. She has been involved in the recording of the complete vocal works of Dietrich Buxtehude by Ton Koopman, and has also sung with renowned conductors like Frieder Bernius and Pierre Cao. For a number of years she has worked with Joachim Held, and this partnership has resulted in 2007 in a very fine disc of German folk songs (Hänssler Classic CD 98.284).
The features of that disc are noticeable here as well. As I have already stated Pahn has excellent diction. I could understand practically every word she sang. This is also due to the recording; the engineer has done a great job. But it is not just a matter of diction, the projection of the voice is also very good, and this allows her to follow every distinction in the text very closely. This results in a natural delivery of the text and a perfect expression of its content.
This is especially important as the various songs are quite different in character. Some of them are hymns which are also used by composers in cantatas or oratorios, like 'Vom Himmel hoch' or 'In dulci jubilo'. Others are typical traditional songs, like 'Come, you shepherds' or 'A hunter wants to hunt'. The latter is a so-called contrafactum: the original secular text has been replaced by sacred words. In this version the hunter is hunting with the angel Gabriel. When they meet Mary Gabriel tells her she is going to be the mother of Jesus. 'Mariäündigungs' is also about the Annunciation, and again this is a contrafactum. In 'Wach, Nachtigall, wach' the nightingale is urged to fly to the cradle and sing for the newborn baby.
Some songs are lullabies, like 'Still, still, still' and 'O Jesulein zart', which are sung with great finesse. Pahn feels equally at home in the children's song 'Ihr Kinderlein kommet'. To this category also belongs 'Susani, susani', which is a song for the so-called Cradle (rocking the cradle). Once this was a traditional ceremony during Christmas time in Germany, but was also known in Flanders.
There are some songs which not only refer to the birth of Jesus, but also to his Passion. Traditionally these always belonged together, and a composer like Bach often connected them in his music. One finds this connection, for instance, in 'Es geht ein Schiff laden' which says that he who wants to embrace Jesus also has to die and spiritually resurrect with him. Others are 'Geborn is uns ein Kindelein' and the last song, written for New Year, 'With this new year'. Spiritual depth is even present in a lullaby like 'Still, still, still' which says: "Open heaven's realm to us, if we must die one day."
The differentiation in the program isn't only reflected by the variety in character between the songs, the music recorded here also stretches from the Middle Ages to the early 19th century. The oldest piece is from the 12th century, 'Sys willekomen heire kerst', although fragments of it go back as far as the 10th century. The latest piece is the famous 'Stille Nacht', which is given a beautiful and unsentimental performance.
Lastly something about the lutenist Joachim Held. Among his teachers were Eugen Dombois and Hopkinson Smith. He has developed into one of the world's leading lute players. He regularly makes recordings as soloist and often plays the basso continuo in various ensembles and orchestras. On this disc he proves to be a very refined and sensitive player, who follows and supports Bettina Pahn very carefully. He also plays some solo pieces. Among them are nice settings of Christmas songs by the German lute player and composer Esajas Reusner. From the same composer comes the substantial Passacaglia in D which contains some daring harmonic passages.
This is a splendid disc for Christmastide which differs from most discs for this time of the year. It contains several gems which are hardly known, especially outside the German-speaking world. The whole program is intelligently put together and performed with great refinement and subtlety. This is a disc to listen to in peace and quiet. "

Musicweb international "CD of the Month" - December 2009, Johan van Veen

"... Sublime, dramatic, then completely withdrawn and thoughtful - this is how our old German Christmas carols can sound that you suddenly hear new here. Without the sugary tinkling around them, without an overdose of feeling. The soprano Bettina Pahn and the lutenist Joachim Held succeeds in getting to the core of the songs: the Christmas miracle ... You can feel that Bettina Pahn really knows and feels what she is singing about ... A wonderfully contemplative CD that encourages you to sing the Christmas carols yourself. "

NDR culture - December 2009, Dagmar Penzlin

"Immersed in 'Silent Night', the courage to push traditional songs into the midst of what is always the same is shown by Bettina Pahn and Joachim Held. Cautious, only with soprano and lute, the duo explores the substance in no less than 30 movements, some of which are of ancient origin. If you can't find peace with "Silent Night", try this recording. "

Saxon newspaper - December 9th, 2009, Karsten Blüthgen

"In January 2008, Bettina Pahn and Joachim Held released their CD" Deutsche Volkslieder "(hänssler CLASSIC, 98.284). The reviews were hymnal. Spiegel Kultur called their folksongs" little revelations ". The magazine Singen und Voice currently counted the recording among the" best Folksong recordings since Fritz Wunderlich ". Now the two musicians have developed a new project that also focuses on the simple and the original.
On their CD "Silent Night" they dedicate themselves to German Christmas carols, little treasures marked by devotion, love, fear and joy about the baby Jesus. These are basic ideas that do not require any artificialization or complicated instrumentation. It is precisely the seemingly confidential constellation of vocals and lute accompaniment that carries on the wonderful and popular simplicity of the songs. Bettina Pahn adapts to the various forms of expression with an extraordinary musical intuition. Your lyrical soprano can sometimes sound intimate, sometimes very solemn. Joachim Held's solo lute pieces sparkle with imagination. He uses the lute as an accompanying voice, cautiously but very artfully and perfectly "dosed".

CLASS up-to-date - December 2009

"In 2007 the soprano Bettina Pahn questioned our ideas about folk music with her CD" Das Lieben brings great 'Freud' - German Popular Songs "(Hänssler 98.284 / Naxos) "," Vom Himmel hoch "and other songs that were sung by the family members themselves in every properly run German household up until the 1970s on Christmas Eve. With her interpretations, the singer manages the balancing act again this time between dignified art song seriousness and folkloristic no-frills. Between extremely fine intimacy and a bow to the mass taste. Between small artistic chanson undertones and the really big diva pose. Between seduction to devout listening and the invitation to sing along - or at least to hum along. "

Schwarzaufweiß, the travel magazine - November 2009, Winfried Dulisch

Dating back to Medieval times, German Christmas carols have a long tradition. These early tunes normally integrated well-known folk melodies with lyrics written by local clergymen and sung in churches, often as choral dialogues, or performed in religious Christmas plays. Under the influence of the Reformation, the celebration of Christmas extended outside of the Church into the family domain. It was in the 19th century that many of the festive German carols known today first arose. Older carols were adapted and modernized; new lyrics were added to familiar folk tunes. While the religious impulse behind the spirit of the celebration was not wholly abandoned, the tone of the new German Christmas carols was lighter and less ritualistic than the Church songs. Here is new Christmas album from Joachim Held and Bettina Pahn, artists considered preeminent Baroque specialists. The award-winning Joachim Held is on his way to becoming an internationally recognized lutenist while soprano Bettina Pahn, has made a name for herself singing with Ton Koopman's Amsterdam Baroque Orchestra. Together they have collaborated both in concert and on recordings. Pairing the lute with a soprano was a staple of Baroque music in both Germany and Italy. Together the hushed sound of the voice is sweetly accompanied by plucked and strummed lute. The album includes classic holiday fare all sung in German or Latin including "In Dulci Jubilo," "Silent Night," "O Tannenbaum" and a moving version of the Christmas lullaby "Still, Still, Still" - 22 tracks in all. This is a beautiful and well-made album with a natural beauty and a fluid musicality of singing and playing. One could not expect more. These two long-time duo partners turn the talents to capturing the home-spun beauty of the German Carol tradition, sounding every bit as exquisite as they did on their other CD. Here is a consistently fine and intimate collection that should happily attract and easily appeal to listeners looking for a holiday album that is as charming as it is agreeable.

Musical Heritage - October 2009, Terrence London







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German folk songs, Loving brings great joy (1CD, Hänssler Classic)
Bettina Pahn (soprano), Jochim Held (lute)

"Held makes heart-pounding music together with his wife, the singer Bettina Pahn. The Erfurt native, who teaches at the Rostock University of Music, sings almost two dozen folk songs with a free-flowing soprano voice that is succinct in the word diction - compellingly natural and yet with the artistry of a practiced Baroque and Mozart - The deductible indicates a biographical background of the singer: The daughter of a phoniatrist and a speaker teacher grew up practically with the folk song. In the GDR this was granted more political correctness than in West Germany, where first the Hitler regime, later Adorno's verdict This genre brought this genre into disrepute. This also expressed Germany's division. Nevertheless, Pahn, as she likes to emphasize, found her "spiritual home" in folk songs.

FAZ - 31.05.2008

"This recording is one of the discographic highlights of autumn 2007."

MusicForum - 01.2008

"According to our editorial team, your CD 'Deutsche Volkslieder' with Bettina Pahn and Joachim Held is one of the best folk song recordings since Fritz Wunderlich."

TO SING, Magazine of the German Choir Association

"Far away from all the hit parades of folk music with its rancid assembly line goods, there are fortunately still musicians who are enthusiastic about the simple and the real. Simply good, namely unmannered and intonation-confident Bettina Pahn sings 25 songs and ballads from" All birds are already there "to" Not a beautiful country at this time "which now seem like little revelations thanks to Joachim Held's sparingly elegant lute background".

SPIEGEL culture - 02.2008

"In addition to the sensitive accompanying art of the lutenist Joachim Held, which gives the project a special timbre and weight, the soprano Bettina Pahn, who is versed in the areas of oratorio, baroque opera, early music and song, determines the event. simple "genre of folk, love and children's tunes that provokes a certain naivety, gives it its personal flair.
Untouched by the well-known backdrop of many "star records" with elaborate orchestral arrangements, as they often enough kit up the widespread performance and encore successes of big stage, arena and podium sizes (especially with Christmas carols), the atmospheric setting of a basically correct, quiet house is here - and chamber art preserved. "

http://www.klassik-heute.de/kh/3cds/20071129_18441.shtml - 01/01/2008 (published 11/29/2007)








Interview + CD of the month
To sing
Pdf (282 KB)

"Singing brings great joy"
Class up to date
Pdf (314 KB)

"Singing opens the soul"
MusicForum
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Dieterich Buxtehude: Opera Omnia XVIII - conductor Ton Koopman (2CD, Challenge Classics)

"... One of the favorite solo cantatas, and one of the first two Buxtehude cantatas ever recorded, is Singet dem Herrn ein Neues Lied, sung by soprano Bettina Pahn. Her competition is formidable, including Helen Boatwright, Honor Sheppard, and Emma Kirkby, but this is suitably stylish with vocal flourishes and a strong voice. As recorded here the cantatas in the original high pitch (exactly half a tone higher than Emma Kirkby), Koopman asks rhetorically, "Could there be anything more beautiful?" "

Fanfare magazine - J. F. Weber, June 24, 2014

"... Here are performances, then, of largely unfamiliar works that deserve to be much better known. They certainly recreate the excitement and conviction which those in Buxtehude's circle must have felt on first meeting them. Koopman has that newness in his step without ever suggesting mere novelty. At the same time, on repeated listening, the listener is struck by the sense that Buxtehude is so inventive and creative in marrying text to music that there is still much in reserve. Yet without ever compromising the way each work shines , impresses, inspires. The commitment of the performers reflects this: the purity of Pahn's soprano in Singet dem Herrn (BuxWV 98) [CD.1 tr. 7], for instance. "

Classical net - Mark Sealey, 2014






Concerts with Ton Koopman and the Amsterdam Baroque Orchestra

"... It was a massive treat to hear the tragi-comic Canary Cantata, or" Funeral Music for an artistically-trained canary bird. "Some readers may know Dietrich Fischer-Dieskau's recording of this with an instrumental group that includes Lothar Koch on oboe. Here in France, florid harpsichord playing, the superbly clear soprano of Bettina Pahn (even heard from behind she sounded special) and full involvement from all meant that the full "drama" was caught ... "

Itinéraire Baroque Festival - 27.07.2017 (Opening Concert) - Seen and Heard-international, Colin Clarke

"... Koopman steered the performance of Donnerode expertly. The choir sounded fabulous in the opening chorus," How is your name so great, "although given the soupy acoustic, words blurred. But delight upon delight followed: Bettina Pahn, not seen since the first night, was superb against a wonderful bassoon obbligato in the aria, “Bringt her, you heroes from divine seed”; similarly, the soprano aria "Most beautiful of all sexes," with its gently swaying pair of obbligato flutes, what a joy, this time acting as balm after the bass arias ... "

Itinéraire Baroque Festival - 30.07.2017 (Final Concert) - Seen and Heard-international, Colin Clarke

"Bettina Pahn's warm, glamorous soprano was able to develop its full radiance with this acoustics. She delighted with its beautiful design, especially long tones and dense legato passages."

Itinéraire Baroque Festival - 07.2012 (concert with Bach cantatas, conducted by Ton Koopman)

"It is not easy to interpret these works by Zelter, Haydn and Mozart, which often seem very simple and plain, in such a way that their inherent compositional teamwork comes to light without appearing mannered - but the two musicians did it excellently On the one hand, Bettina Pahn knew, with her lightly guided soprano, to always keep the perfect balance on the fine line of innocent but real expression, which makes Haydn's Cupid, Mozart's Come, Dear May or Zelter's Violet, for example, really appealing, and never slipped into raised ones Naivety; and on the other hand, Tini accompanied Mathot exactly as clearly and easily, or - in the appropriate places - as powerfully and intensely, without becoming spongy, as one must wish, in order to maintain the limbo between children's and art song who is so fascinating about this repertoire. "

Itinéraire Baroque Festival - 07.2012 - Anne Metz, Toccata (concert with Tini Mathot)

"... with Tini Mathot. ... Nous retrouvons Bettina Pahn dans un répertoire qu'elle semble affectionner particulièrement, le lied avec pianoforte du dix-huitième siècle. Enjouée et dans son élément elle va interpréter des oeuvres de Mozart, donc, mais aussi de Haydn et de Zelter avec maîtrise et légèreté. Parfaitement juste et dans une diction très vivante elle enchaînera ces petites pièces sans jamais lasser, bien soutenue par le très beau son du pianoforte et le toucher délicat délicat de Tini un petit Rondo en la mineur KV511 en guise d'interlude instrumental. ..., ce concert est une réussite et se dates dans les sourires partagés des musiciennes et du public ... "

Itinéraire Baroque Festival - 07/28/2012 - Gilles Grohan, Muse Baroque

"... Enfin, le dernier concert, à l'église St Pardoux-de Mareuil nous donne à entendre la soprano Bettina Pahn, mais accompagnée cette fois au pianoforte by Tini Mathot.Elles ont choisi un programs de lieder écrits par Haydn, Carl Friedrich Zelter et Mozart, on peut très facilement trouver pire. Un choix de lieder très variés, chansons d'amours, plaintes de tristesse, chansons coquines ("The late arrival of the mother"), chants bucoliques, sur lequel la voix de la soprano couvre tout un panel de sentiments divers. Un rondo de Mozart, le KV 511, au beau milieu, pour servir de palier et pour entendre mieux le jeu très élégant de Tini Mathot ... "

Itinéraire Baroque Festival - 07/28/2012 - Yvette Canal

"... C'est par la cantate" My heart swims in the blood "(BWV 199) que la soprano Bettina Pahn et l'Amsterdam Baroque Orchestra commence. Cette cantate commence de façon très sombre pour peu à peu s'illuminer. Le hautbois d'Antoine Torunczyk y développe un très beau solo et la belle voix de Bettina Pahn y trouve matière à exprimer des sentiments variés 202), fort guillerette, puisqu'écrite à destination d'un mariage et Bettina Pahn s'y est montrée éblouissante. "

Itinéraire Baroque Festival - 07/27/2012 - Yvette Canal

"In addition, Bettina Pahn and Francine van der Heyden were joined by two perfectly harmonizing sopranos with a slightly silky matt sound, who delighted with the most beautiful phrasing and well-executed lines."

Toccata - July-August 2008 (Concert "Donnerode" and "Ascension Oratorio" - 19th Magdeburg Telemann Festival 2008)

"Bettina Pahn [...] consistently convinced with a clear, well-managed voice, effortless highs, flexibility and musically plausible arcs of tension."

Toccata - 30/2007 (Buxtehude concert St. Marien Lübeck - May 10, 2007)

"Especially Bettina Pahn as 'bad child, you loose girl' [in J.S. Bachs Coffee cantata A.d.R.] worked like an extra strong, extra strong, extra sweet potion. "

Hannoversche Allgemeine - 12.06.2007

"The two sopranos Bettina Pahn and Miriam Meyer sang radiant, light, sparkling clean in the coloratura and with fine expression. [...] The soprano aria 'Seufzer Tränen ...' was deeply felt full of pain and with great intensity."

Verdener Aller newspaper - 06.09.2007

"Onder de vijf soloists were het vooral de both sopranos, Bettina Pahn and Johannette Zomer, who judged hun-note stralend hemelwaarts."

De Vokskrant - 17.01.2007







About Bettina's Singing - 2019

"... In each lifetime some of us are privileged to experience magical moment-moments of great beauty and great devotation, and the way you give attention to that world, with your rare combination of vocal beauty, distinctive voice throughout - hugely expressive and brimming with vivid color exceptionally broad and excessively sentimental, genuine, rubato more natural, most noticeable, a stronger vocal agility and brighter tone, nimble coloratura and a light voice of penetrating beauty we can find the deep inner beauty, truth, and peace, that has been waiting both outside and inside of us all along. Such are the moments when you share your gift of making music and for these special occasions we continue to be full of gratitude ... "

Athanasia Tzanou, Greek composer

Mendelssohn's hymn of praise in the Michel - 30.10.2017 Hamburg

"... The Israeli soprano Chen Reiss mastered all heights with ease with her sonorous, soft soprano ... Bettina Pahn was great in her short part as the second soprano. Her warm, rounded soprano sound went perfectly with Mendelssohn's cantilever lines Finally, Werner Güra was fully up to date, who was able to fill the whole church with his powerful tenor. Overall, it was the choir and soloists who led to sustained applause and started the Reformation Day musically in a fitting manner ... "

Isabel Schubert, Bachtrack - 10.2017

53rd summer concert of the Preetz monastery church with the Hamburger Ratsmusik - 08/18/2014 Preetz

"... the ensemble, which bewitched and enchanted with its delicate interplay ... Together with the fantastically present soprano Bettina Pahn, the musical Dowland excursion touched strong feelings such as love, passion, fear and sadness ..."

Kiel News - 08.2014

Handel Judas Maccabaeus - Head KMD Markus Langer, concert 04/20/2013 Rostock

"... the experienced, renowned soloist quartet was supported: Bettina Pahn with her supple, booming soprano, Anette Markert with her dramatically colored alto, both of whom found expressive common ground in their numerous duets ..."

Ostseezeitung - April 22, 2013 (Heinz-Jürgen Staszak)

"... with the Hamburg soprano Bettina Pahn, the performance has gained a lot of musical expressiveness and vocal differentiation ..."

NNN - April 23, 2013 (Michael Baumgartl)


The floating magic of melancholy - Hamburger Ratsmusik celebrates a thrilling Dowland festival in the Pinneberger Drostei, concert December 15, 2012 Pinneberg

"... the Hamburg Ratsmusik celebrated a gripping music festival with the soprano Bettina Pahn and the enthusiastic audience in the Pinneberger Drostei around the British musical genius John Dowland. The ensemble of experts mastered the balancing act between full concentration and seemingly effortless execution with flying colors. And put the expressive soprano Bettina Pahns in the limelight. At the latest with their first performance, the classic "Flow my tears", the ensemble had its audience under control ..... The quiet beauty of the four centuries old music was particularly impressive when Pahn sang only accompanied by filigree technician Wedemeier on his lute, such as the love song "Come again" or the deeply sad "Can she excuse". With the perfectly coordinated use of the strings, the pieces unfolded their full goosebumps effect. With two comparatively modern arias by Handel Pahn and the council music crowned a successful concert ... "

Hamburger Abdendblatt - December 17, 2012


Between Baroque and Early Classical Osteseezeitung, Heinz-Jürgen Staszak on a Christmas Oratorio in Rostock, concerts December 8th, 9th. Rostock, St. Nikolai)

"... Markus Johannes Langer performed an invigorating new discovery: Georg Gebel's Christmas Oratorio ... a mid-level work of its time ... plus an excellent soloist quartet with the baroque specialist Bettina Pahn, ..., in whose recitatives and arias the New melodic gesture expressed: supple and soulful, no longer just for the glory of God, but also for the throat for pleasure and the heart for joy ... Langer had preceded the Magnificat by Bach ... here too, with this ensemble of soloists it sounded in his incense-free spirituality in even greater maturity ... "


"Porporra and Handel" with the Elbipolis Baroque Orchestra, Neuburg / Danube, October 8, 2011

Musical marriage alliance. Neuburg Neuburg (DK) It stands for pure and eternal love, the white rose.
Lively joy of playing: Bettina Pahn in the congregation hall.
Countless white roses adorned the congregation hall in Neuburg when the concert entitled "Per la Signora Faustina" took place as part of the Neuburg Baroque Concerts. The focus of this year's concert series was Johann Adolph Hasse, an important composer of the late baroque. The story of Johann Adolph Hasse is also that of his wife Faustina, a famous soprano of her time. Both interwoven their lives into a musical symbiosis that led them to international royal courts, through the chaos of war, to the highest honors and to an early death in Venice. So reason enough to surtitle the concert like that. It is part of the tradition of this concert series to shed light on the musical context, and works by the composers Georg Friedrich Handel and Nicola Antonio Porpora, who are in one way or another with Hasse, were also performed. The Elbipolis Barockorchester from Hamburg played the evening with the highly talented soprano Bettina Pahn. The ensemble, which played without a conductor, was of minimal size, so that each voice was occupied by one instrument. However, this did not result in any restrictions, on the contrary, a transparent, lively sound image. The soprano roles of the concert evening could not have been cast better than by Bettina Pahn. The highly agile soprano voice of Pahn fits seamlessly into the lively, lively joy of playing of the Elbipolis Baroque Orchestra. Precise intonation, but also lyrical depth shaped Bettina Pahn's performance. It was precisely this lyrical depth that contributed to shaping the musical highlight of the evening: the aria "Alto Giove" from "Polifemo", first performed on New Year 1735, composed by Nicola Antonio Porpora. Porpora, a famous opera composer and, as a prominent singing teacher of his time, also teacher of the world-famous castrato Farinelli, left us this wonderful piece of music. Formally designed as a two-part da-capo aria, there is an almost timeless mystical magic, especially in the A part of the aria. The Elbipolis ensemble, which tends to be more courageous in choosing a tempo, prepared the ground for the highly contemplative aria in a restrained, moderate tempo. Bettina Pahn spread her wonderful lyrical soprano over it. While Hasse's relationship with Porpora was always characterized by rivalry, which, compared to Handel, was characterized by mutual respect, the composers, who were linked by an important creative period in London, found each other under white roses in the Neuburg Congregation Hall: a beautiful symbolism on the occasion of a highly successful concert. "

By Christof Fiedler - 10.10.2011


Christmas Oratorio, St. Michaelis Hamburg, December 18 and 19, 2010

"... Bettina Pahn lends her wonderfully bright soprano shimmer to the winged mediators between heavenly and human spheres ..."

The world - December 21, 2010


Extensive sound, moving presentation: Heidelberg Bach Choir with Bach's "St. Matthew Passion" in St. Peter's Church, March 28, 2010

"... Stylish, passionate, agile and slag-free, with a very pleasant timbre, Bettina Pahn sang the soprano arias ..."

Heidelberg - March 28, 2010


The perfect way to get into the mood for Christmas Eve. Bach's Christmas Oratorio under the direction of Hauke ​​Ramm in the St. Wilhadi Church, December 20, 2009

"Under the direction of Hauke ​​Ramm, the large number of visitors to the St. Wilhadi Church experienced a great concert on Sunday evening. Johann Sebastian Bach's Christmas Oratorio rightly received endless applause and cheers at the end of the three-hour performance [ ...] Bettina Pahn, who has appeared in the most important concert halls, including the "Carnegie Hall" in New York, impressed with her clear soprano, especially in the duet with the powerful bass of Gotthold Schwarz, who is also an internationally recognized artist. [ ...] "

Day sheet, Franziska Felsch, Stade - December 22nd, 2009


Sensitive Bach oratorio in St. Michaelis

"The birth of Christ is not suitable for a grand opera. The miracle of God's incarnation requires music that sounds heavenly and human at the same time. Johann Sebastian Bach composed it. Christoph Schoener carried this double mood of the Christmas Oratorio in his reading on St. Michaelis' s weekend wonderfully Bill. The soloists also rely on intimacy instead of overwhelming: the clear voice and tone of the tenor Markus Brutscher's evangelist, the angel-lyrical soprano Bettina Pahn and ... "

The world, Kra - 12/22/2008


Concert with Moshe Aaron Epstein (transverse and transverse flute) and Wolfgang Zerer (harpsichord)

"Top-class trio with a baroque program [...] Magnificent, artfully condensed chamber music made the trio sound in perfect beauty."

Kiel news - 30.01.2007


Massacre Wolfgang Mitterer - Ronacher Wintergarten, Vienna

"Special praise is due to the excellent singers: [...] Bettina Pahn (Navarra) [...]."

Wiener Zeitung - 20.05.2003

"In any case, the performance of the actors is to be praised, even the not so easy singing: [...] Bettina Pahn (Navarra) [...]"

Salzburg news - 20.05.2003


La Diavolessa, Galuppi - Potsdam

"Bettina Pahn as Countess and Doerthe Maria Sandmann as Ghiandina recommend themselves as great virtuosos with a special playing talent."

Berliner Morgenpost - 23.10.2002

"deliciously funny: Bettina Pahn"

Potsdam latest news - 21.10.2002


Concert choir and orchestra St. Michaelis, led by Christoph Schoener