Reviews
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Manukau Symphony Orchestra at Genesis Energy Theatre Manukau Symphony Orchestra is a force to watch on the city's musical scene. Although most of its programming tends towards the middle of the road, conductor Uwe Grodd is not above springing surprises. The weekend's Ole concert was one: a playlist that, in Grodd's words, celebrated "the incredible synergy between France and Spain". Debussy's Petite Suite was pure enchantment from the first bars of En Bateau. The score's four movements were masterfully shaped and characterised by Grodd, catching all their Debussian whimsy. At the other end of the concert, we were farewelled Spanish-style with a vivacious Interlude and Dance from Falla's La Vida Breve. And in between, Austrian pianist Christopher Hinterhuber stepped in with not one, but two concertos - the chic and occasionally cheeky Ravel G major and the exotic tableaux of Manuel de Falla's Nights in the Gardens of Spain. Ravel set a test for the orchestra but, with Grodd's instinct for sustaining structure and energy, the occasional thin tone in the strings and passing flutters of indecision were not a serious worry. He was not afraid to let climaxes rip in the bluesy Adagio and the final Presto was a tingling delight. Christopher Hinterhuber, a pianist with a reputation for earlier music than this, brought a classical fastidiousness to Ravel's glittering intricacies; glissandi caressed the Manukau Steinway and he revelled in jazzy rhythms that could have slipped out of Gershwin. A fiery account of Albeniz's El Puerto was a taster for the Falla still to come. Nights in the Gardens of Spain offered more orchestral challenges, but the musicians responded vividly to the composer's bold colourings. Rhythms were as alluring as they were infectious and Hinterhuber turned on yet another tour de force. You have to wait until October to catch the MSO's next concert which, incidentally, features The Emperor and the Nightingale by our own Jenny McLeod. Meanwhile, check out Hinterhuber in recital tomorrow night at the University Music Theatre. By William Dart - NZ Herald 12/8/08
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‘In Grodd we trust’ New Zealand-based flautist Uwe Grodd has been hard at work over the past 12 months recording no fewer than six albums for Naxos. His latest recording, made in late August at Hamilton’s Wel Theatre, New Zealand, is dedicated to rare works by Schubert and features pianist Matteo Napoli. Included on the disc are the Variations on “Trockne Blumen” from Die schöne Müllerin, the Arpeggione Sonata, D 821, in an arrangement by Grodd himself, and six Lieder arranged for flute and piano by Theobald Boehm. Gramophone November 2007
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Superb Flutes with Opus Chamber Orchestra
Yesterday’s performance at the Concert Chamber of Opus Chamber Orchestra’s ‘Winds from the North’ was distinguished by two outstanding flutists. . Canadian flutist Robert Aitken and his fellow–player from Auckland, Uwe Grodd, brought lustre to the occasion by their purity of sound and refined musicianship. Uwe Grodd also conducted, and his fine rapport with the players produced many treats in the attractive programme. Sinfonia in D major by the late 19th C Viennese composer Vanhal was a delight, and memorable for its touching, extended oboe solo. The two flutes formed an exceptional partnership in Cimarosa’s Concerto for Two Flutes. Their playing was light and silky in tone, and managed to be both wonderfully refined and lively, especially in their many joyous exchanges. Robert Aitken was masterly in the flamboyantly Romantic ‘Concert Piece’ Op 3 by the Dane Joachim Andersen. Here was exemplary flute playing, with all the agility needed to handle a virtuoso work which was further distinguished by expressive playing from the orchestra. Uwe Grodd produced plenty of character in Beethoven’s Symphony No 1 when it was given a rather relaxed performance, well suited to the chamber orchestra scale, which emphasized the lyricism in the work.
Hanno Fairburn's Rotorua Post 23/7/2007
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Winds from the North
Who: Opus Chamber Orchestra When: Friday 20th July Where: WEL Academy of Performing Arts Works by: Vanhal, Cimarosa, Andersen and Beethoven Conductor and Flautist – Uwe Grodd, Solo Flautist – Robert Aitken A concert of little gems that had elements of virtuosity mingled with moment’s of melodic melisma. The opening Vanhal’s Sinfonia in D with its central oboe cantilena was beautifully played, which created a magical moment which was encircled by the crisp and gallant outer movements. Cimarosa Concerto for two Flutes is well known the difference here was that Robert Aitken had included five complex cadenzas that along with Uwe Grodd demonstrated virtuosity in equal abundance as if a florid latticework was being created for our aural edification to illuminate aspects of this work. Andersen’s Konzertstück Op.3 for Flute and Orchestra displayed a romantic fervour and rhapsodic elements that were well captured by both soloist and orchestra. The ensemble and balance here worked well, with some fine playing from the wind and brass. Aitken’s ever-present virtuosity was not only in the mechanical dexterity, but his use of tonal colours and nuanced playing was acute. Beethoven’s Symphony No.1 in C major. Good tempi, appropriate balance and energy were the hallmarks of this performance. The power of the first movement was matched by luminosity and lyricism of the second, whilst the third exuded rhythmic vitality. The finale was exciting with Beethoven’s playfulness and own wry wit being accentuated. Weber lauded it as "splendid" and so it was. Andrew Buchanan-Smart Waikato Times 23/ 7/ 2007
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| Hamilton Civic Choir: 60th Anniversary Gala Concert ... more | ||
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The appetiser of Flute Concerto, with its crystal clarity, cleansed the palette for the weightier and more profound Requiem. From the opening Introit through to the Lacrymosa to the final Lux Aeterna, the choir once again were on top form with singing that was sharply etched throughout, its balance excellent, its singing energetic, dedicated and dramatic, nowhere more so than in the Dies irae, Rex tremende and final Communion. Particularly impressive were the soloists, Pepe Becker, Helen Medlyn, David Hamilton, and Jamie Frater who produced clarity both in the words and in the music. They came across with unusual definition, especially in their blend and balance with particularly refined ensemble singing. Uwe Grodd’s achievement was on obtaining such a powerful and distinctive interpretation both from the choir and the excellent orchestra, with the dark tone colours in keeping with the solemnity of this work being well maintained throughout. Both the balance between orchestra and chorus and the orchestra’s internal balance were proved finely judged. A stunning performance that appeared much appreciated by a full Founders Theatre. WAIKATO TIMES (Andrew Buchanan-Smart ) 3 April 2006 |
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| Saison Opening Concerts in Gotha and Suhl .... Interviews (in German) | ||
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Genussreich in Gotha - Gotha 08.09.2005 Nein, "Winterträume" konnten
beim Saisonauftakt der Thüringen Philharmonie Gotha-Suhl nicht aufkommen.
Auch nicht Gedanken an "Raues Land, Nebelland", wie Tschaikowsky
den zweiten Satz seiner ersten Sinfonie in g-Moll überschrieb. Aber immer wieder hatte der Komponist eine
überraschende Wendung parat, fing die Stimmung ab, schuf neue Gedankenansätze.
Die hat Grodd wunderbar erkannt und dem Orchester feinste Nuancen entlockt.
Tschaikowsky vom Feinsten. "Thüringer Allgemeine" Feuilleton (Renate Parschau) 09.09.2005 |
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Sommer-Wintertraum mit Aprikosenduft - Suhl
07.09.2005
"... ... , entlockte Grodd den für Tschaikowsky typischen dunklen Streichern und elegischen Hörnern einen so durchsichtigen Klang, dass die schwermütige Grundstimmung eher leichtfüßig und trotzdem spannungsreich daherkam. So konnten die Suhler Musiker ihre Stärke bei dynamisch-ausladenden Stücken der Romantik ausspielen, die sie sooft bewiesen haben. Die leisen Ausklänge im zweiten und dritten Satz, die präzisen Bläser, der entfesselte Ausbruch im letzten Satz hielten das Publikum spürbar in Atem. Langer Applaus für Grodd, der im Dirigat mühelos zwischen fast tänzelnder Leichtigkeit und innigster Anspannung wechselte. ... " ..... den ganzen Artikel "Freies Wort" Feuilleton 09.09.2005 |
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Taranaki
Festival of the Arts “……and
this was Grodd at his best, wondrously skilled in the swifter movements,
pensive, poignant in the Adagio, and backed by great playing from Daily News 5 Aug 2005 |
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Handel Festival - Final concert with fireworks ... more |
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Händelfestspiele
Halle waren großer Erfolg
40.000 Besucher, 90 Prozent Auslastung - für
die Leiterin der Händelfestspiele Halle, Hanna John, war die Auflage 2005
ein großer Erfolg. Dabei glückte auch die künstlerische Neuausrichtung:
Erstmals standen Händels Oratorien im Mittelpunkt des Festivals. Das
Motto "Biblische Gestalten bei Händel" zielte auf das Spätwerk
des Barock-Komponisten ab.
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Feuerwerk zum Finale
Traditionell endeten die Festspiele
am Sonntag, dem 12. Juni, mit einem Konzert und Feuerwerk in der
Galgenbergschlucht. Das Abschlusskonzert spielte das Philharmonische
Staatsorchester Halle. Unter der Leitung von Uwe Grodd
waren Ausschnitte aus Händels Oratorien "Messiah" und
"Joshua" zu hören. Das Festival wurde mit rund 1,1 Millionen
Euro von der Stadt Halle und dem Land Sachsen-Anhalt gefördert.
mdr.de Kultur,
13.06.2005 ... Dirigent Uwe Grodd gastiert regelmäßig bei den Händelfestspielen in Halle. mdr.de Kultur,
30.05.2005 |
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Wochenspiegel 15.06.2005
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Amtsblatt 15.06.2005
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Mitteldeutsche Zeitung 13/06/2005 |
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Beethoven/ Gassmann/ Sculthorpe/ Mozart - Hamilton 28 Nov. 2004 An accomplished performance by the orchestra under Uwe Grodd produced an excellent concert for the near capacity audience. Gassmann's The Ridiculous Traveller overture in three sections was a little gem displaying a stately elegance and stylish performance. Beethoven's Piano Concerto No. 5, the Emperor, was the highlight with Katherine Austin as soloist. The massive opening chords in the orchestra, with the pianistic decoration upon them were as fortuitous as they were spectacular. The cadenza for the first movement and closing stages, by contrast, were refined and delicately set off against all the bombast. Austin's playing in the second movement Adagio is given a lovely contemplative and almost improvisational air; as the ghostly hints of the third movement theme are given at the end, one felt a chill run down the spine. Austin's virtuoso display, though not flawless, was overshadowed by the spirit and verve of Beethoven with an energetic performance, with lashing of bravura, which avoided excess. Sculthorpe's Port Essington for strings displayed versatility with the juxtaposition of two music worlds carefully interwoven. The orchestral sonorities and solo timbres were finely judged and blended. Grodd captured all the crisp classical rhythms in Mozart's Symphony No. 31 in a thoughtful performance. All the sections were refined and well balanced with tight ensemble. This excellent concert could only enhance the musical reputation of Opus and its members. Waikato Times 29/11/2004
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Prime Minister launches top-listing CD (pdf ca. 108 kb)
The University of Auckland News - Mai 2004 |
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Primeminister of New Zealand Helen
Clark and Uwe Grodd at the launch of the Hummel CD |
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Dr. Karen Grylls, Chorusmaster, Uwe Grodd, Helen Clark | |
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"Under Uwe Grodd's musical direction however a preminition of the early classical period is hinted which could not be imagined in a more interesting way. Händel as a composer at the edge to a new time who opens himself up during his last steps to a new development. Händel is currently Number One amongst audiences ...and this is one of the strongest lifesignals of the medium Opera." DIE WELT 13/6/03
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"Imeneo opens the Händel Festival in Halle. ...Uwe Grodd creates a light but never superficial sound with the Händel Festival Orchestra" Tagesspiegel, Berlin 11/6/03
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" 'Heartbreak at the altar of reason'- The Halle Opera House celebrates a well deserved triumph with 'Imeneo'. The 60th Händel production was celebrated without uneingeschränkt gefeiert with an outstanding vocal ensemble....and with the Händel Festival Orchestra on original instruments under Uwe Grodd was lyrical and flowing, always supportive to the singers." Mitteldeutsche Zeitung 10/6/03
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" The premiere of the opera 'Imeneo' was umjubelt as the first highlight of the 52nd Händel Festival. This production is a festival for singers and a Rausch , dreamlike , sinnlichen Musizierens of the Händel Festival Orchestra on original instruments under Uwe Grodd. a ferrytale about love full of charme and esprit." Magdeburger Volksstimme 10/6/03
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"Brilliant Festival premiere with Imeneo" "the highlight of the evenin is the exceptional part of the agile yet with full volume....Tirinto with her raging aria that culminates in a coloraturastorm with flying spraks from the orchestra in the pit. Since the reunification with have the an orchestra on original instruments that thanks to baroque conductors have developed a wonderful soundculture. for example Uwe Grodd does not ask for lank artistry with tedious sowingmachine staccati but uses well judeged speeds to give this old music a marvellous and very comfortable patina/sheen Thüringesche Landeszeitung, 10/6/03
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" Uwe Grodd leads the Händel Festival Orchestra in an assured way and with energy." Leipziger Volkszeitung 10/6/03
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"....the Opening Festival Celebrations with some excellent musicmaking....the Händel Festival Orchestra and the Choir des Musiciens du Louvre under the direction of Uwe Grodd reached in Händel's anthem 'The King shall rejoice' a radiance that was also evident in the premiere of the opera 'Imeneo'." Mitteldeutsche Zeitung 7/6/03
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Calder Lawson Travel Hamilton Civic
Choir / St Matthew's Chamber Orchestra / A resounding success for all involved in
a rare and uplifting performance of this masterpiece by "God's
musician on earth". Those present should remember it as both a
spiritual and musical experience. Uwe Grodd masterfully directed the
three-hour epic journey as he guided the musicians, choir and soloists
skillfully through a tapestry of some of the greatest music Bach ever
composed. Waikato Times 4 December 2000 |
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It was indeed impressive to see so many singers neatly stacked up, vocally well drilled, obviously keen as mustard, and led joyfully into the fray under the inspiring baton of Uwe Grodd. Poulenc's Gloria gave the programme its title, and was a great choice. It drew fire when it first appeared in 1959, because solemn church folk had trouble reconciling its jaunty areas with its serious purpose. Nowadays, its sections of rhythmic drive are just as appealing as the languorous, bluesy endings that evoke Gershwin and Ravel, and seem perfectly natural to the musical vocabulary of the young. Proof of that could be heard in the unerring aim of the men in an electrifying and beautifully pitched single-note entry at 'Qui sedes', and in the earlier, punchy 'Laudamus te.' Soprano Glenese Blake sang the difficult solo part and seemed at ease for much of the way with the composer's high tessitura and awkward entries. Her sweetness of timbre carried everyone gently to a heart-warming close. The concert's first half was devoted to Elgar's hugely demanding violin concerto, where the difficulties spill over from the soloist to the orchestra, which has problems of balance built into the score, and requires that Elgar's typically free, rhapsodic teempi seem natural and spontaneous. Animated by Grodd's skilful conducting, the University Orchestra caught much of Elgar's musical ebb and flow, though one wished for more power in the middle ranges to power the big nostalgic surges of sound that breathe mightily through his musical landscapes, like the wind itself. As soloist, Simeon Broom caused a sensation with his self-effacing yet focused playing, always highly musical, despite the first movement's devilish runs sometimes losing weight. Gaining a magical sound in the andante, he went on triumphantly to embrace the finale's central alternation between passionate rhapsody and profound reflection, bringing a delighted audience to its feet at the end. Heath Lees, NZ Herald 2 October 2000 |
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Bach 2000I nternational Chamber Music Festival, St. John's Cathedral Music by Bach and Vanhal The performance of the choir, Voices New Zealand (director Karen Grylls), soloists soprano Mary Enid Haines, contralto Nina Scott-Stoddart, tenor Cohn Ainsworth and bass Steven Pitkanen, organist James Tibbles and the Aradia Ensemble led by Kevin Malion - under the skilled direction of the Festival Director Uwe Grodd - will surely be long remembered by all who were fortunate to be present. Some highlights were the precision, disci-pline, balance and sheer musicality of Voices New Zealand, the eloquent violin solo from orchestra leader Kevin Mallon, the exquisite blend of the soprano and alto soloist in the Benedictus, and Janies Tibbles' scintillating playing in the Quoniam section. Earlier in the programme, the tribute to JS Bach on this 250th anniversary day, began with organist James Tibbles superb surprise playing of the famous Toccata in D minor. This was followed by the performance of the Brandenburg Goncerto No. 2 in featuring world-famous Swedish trumpeter Niklas Eklund, whose playing of the virtuosic part on a natural valveless instrument in the final movement, was quite breath-taking. But his playing was matched by the other members of the ensemble, particularly the concertino section of violin Kevin Mallon, oboeist Georg Corrall and recorder player Alison Melville in the central movement. The faster outer movements were characterised by stylish playing of impeccable balance and perfect rhythmic impetus. The other choral work by Bach in the concert was the Magnificat in D using similar forces to the Vanhal Mass with the addition of soprano Maria Keohane. The result was the same - a performance of authority, sensitivity, balance and clarity, demonstrating the brilliant musicianship of all who took part. Two special highlights were the overall singing of Voices New Zealand 'without doubt as fine a choir as anyone in the audience could wish to hear' and the combination of the instruments and the soloists in several of the arias. The other item on the programme - Sinfonia in C by Vanhal - was of lesser stature musically but nevertheless the playing cap-tured the style and impetus of the music ideally in the outer movements, with some particularly sensitive and expressive playing in the extended slow movement. Musical Director Uwe Grodd enthused over this programme several times earlier in the festival. His enthusiasm was certainly not misplaced, with the success of the whole venture due in no small part to his skill and musicianship. Peter Williams, July 2000 |
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Capella Istropolitana / Uwe Grodd Waikato Times July 1999 |
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Holy Trinity Cathedral, Auckland Tara Werner, New Zealand Herald October 1998 |
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Beethoven Emperor Tchaikovsky Symphony no. 1 The dynamics were passionate, the percussion dramatic, the strings lush or incisive as required and the wind performed their solos with flair and excellent intonation. Throughout the concert, Grodd's flamboyant style of conducting inspired and encouraged the orchestra to hitherto unscaled heights, particularly in the tuttis, but his attention to detail showed up in the bridge passages. He always had the 'big picture' in mind and ... it was the overall assured performance that was so impressive. Daily News New Plymouth, September 1998 |
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Haydn violin concerto Debussy Petite Suite Pleyel Sinfonia This was a most enjoyable concert. Grodd brings out the best in the orchestra which obviously has a close rapport with him. Nelson Evening Mail September 1998 |
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Conductor, Uwe Grodd; soloist, James Tennant. Rossini, Overture to The Barber of Seville; Saint-Saens, Concerto for Cello and Orchestra No 1 in A minor Op 33; Ravel, Pavane pour une Infante Defunte; Beethoven, Symphony No 1 in C major Op 21. Uwe Grodd professes to have real pleasure in working with amateur orchestras. This showed clearly in the Nelson Symphony Orchestra's response to him with this very enjoyable concert. Equally important is his expertise. His unusual seating arrangement compensated for the small numbers in the lower string sections. Unison scales heard issuing from the auditorium this last week rewarded us all with intonation which was generally excellent. Characteristic of the entire concert was the way in which occasional tentative starts, thin tone, loose rhythm and lack of cohesion between sections were not only rapidly recovered from, but did not spoil the music. Thus the Rossini overture which opened the concert quickly developed into a performance of charm. Looking somewhat French Impressionist with flowing hair and smock-like shirt, James Tennant plunged into the Saint-Saens cello concerto. His impassioned mercurial playing dominated the concerto in spite of the limitations of his cello. (Should anyone in this region harbouring a Stradivarius choose to donate it to him it would be in worthy hands.) Rapport between conductor and soloist was excellent and the orchestra mainly dealt well with the sticky problem of accompanying with intensity and colour without drowning the soloist or sounding too obviously restrained. Despite presenting hurdles of dynamic control and unanimous attack, the Ravel Pavane was showcase for some first-class atmospheric wind and string playing. Beethoven is difficult to perform. For one thing his symphonies are famous. For another, conflicting elements in his music of demanding accuracy versus direct outpouring; delicate colour versus dynamic fire; and controlled architectural form versus demonic energy confront musicians of every rank. The Nelson Symphony Orchestra stood up to these demands exceptionally well and the strings in particular produced a beautiful and exciting sound. Uwe Grodd's vision for the orchestra is a core of local musicians enhanced by imported professionals. Necessary for this is financial support, in this case given by Port Nelson, and historically consistent with the patronage for musicians of all ages. Alliances between amateur and professional musicians can be uneasy and unfruitful but if this concert is anything to go by it seems ideal for the Nelson Symphony Orchestra. Mary Nyre, Nelson Evening Mail 24 June 1996 |
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| Flautist |
Bay of Plenty Times November 1999 |
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An ovation from the large audience was richly deserved and rewarded by three encores! First, a peice of Spanish froth and bubble by the French composer Jacques Ibert, the famous Tambourin by Gossec, played at breathaking pace, then real audience pleaser from the James Galway book. Daily News New Plymouth, April 1999
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Better format lunchtime concert proves a success Flautist Uwe-Alexander Grodd and pianist Matteo Napoli captivated a huge audience immediately with a melancholy opening offering of Schubert's Trochneblumen variations. This most convivial of composers writes melody like a crystal stream constantly welling in a fount of inventive material - the flute deft and delectable but with serious intention, the piano a brilliant cascade of backing sound. In a programme entitled The Romantic Flute, Saint-Saens' Romance sat easily as a prime example of romanticism - the pagan-like sultry lower register of the flute nicely contrasted against Grodd's delicate dexterity. But it was soon back to business with Reinecke's Sonata Ondine. Most sonatas afford players and listeners alike some moments of respite, but this work continually gathers momentum. A later-romantic, but still in the Schubert-Mendelssohn tradition, its cyclic theme became increasingly sensual, its virtuoso properties increasingly breathtaking. Occasionally the balance favoured the piano, but this did not detract from the compelling urgency of the finale and its poignant last page. Italian pianist Matteo Napoli is as distinguished an accompanist as he is a soloist and Grodd is a delight to watch. Ebbing and flowing, near dancing, he grasps firmly the music's humour, its drama, its ever-changing moods, and transmits them skilfully to the audience. Finally we were left with an encore-like piece by Benjamin Godard - its sparkling effervescence from a scintillating partnership characteristic of all we had heard. Harry Brown, Daily News New Plymouth |
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Uwe Grodd, flute with James Tibbles, harpsichord Music Theatre,Auckland University He continued his love affair with the instrument well into his later years when he was nearly totally blind: one can imagine him dictating to his son the siciliano of his final E Major flute sonata. A melody of gentle beauty and mellowness, it made a suitable encore to a concert hallmarked by autumnal warmth. Grodd and Tibbles are colleagues at the School of Music and obviously have a close rapport that comes from a mutual understanding, achieving an equal balance between flute and harpsichord in Bach's Suite in C (BWV 997) and Sonata in B minor (BWV 1030). The suite may have started off a little tense, but the duo soon eased into some relaxed music-making. The sarabande's lovely vocal quality, so akin to many of Bach's solo arias flowed along beautifully, while the gigue with its long passage for solo harpsichord was suitably robust. Meantime the B minor sonata's extended first movement kept both musicians on a musical knife-edge, yet both handled its complex nature in an assured way. Assured would sum up Grodd's performance of two solo flute pieces; one traditional yet contemporary, and the other contemporary yet traditional. Kazuo Fukushinia's poignant Mei for solo flute used many modern practices including harmonics, flutter tongue and hitting the keyboard, but was quintessentially Japanese. Matthew Suttor's Rugwerk for amplified flute and tape used the now 'traditional' tone 12-note row, creating a myriad of effects that nonetheless sounded quite derivative. In this short programme the two pieces certainly provided a satisfying balance to Bach's superb counterpoint. Tara Werner, New Zealand Herald 17 March 1997
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Romantic sounds return Napoli's scaling down of the piano volume in the last passage work in the Undine Sonata by Reinecke enabled the repartee to speak clearly. In the high register the round clear notes of the flute soared over the piano. This sensitive blending showed that the performers obviously enjoyed working together. In a bright but carefully measured 'Fantasie Brillliante our Carmen', the performers extended their artistic rapport and ensemble which left the audience wanting more. Grodd and Napoli concluded this successful programme with a bright chirpy Tambourine, Annie's Song with long flowing legato lines and a bubbling reiteration of the Carmen Fantasy. Bay of Plenty Times 16 March 1995 |
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| ... Grodd's strong tonal projection and a
natural interpretative charisma make him one of the most arresting solo
flautists I have heard here for some hears...'
Ian Dando, Christchurch Star NZ |
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| ... Grodd beguiled the ear with some of
the most seductive sounds of the festival so far
International Festival of the Arts, Wellington Dominion 1992 |
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| ... Uwe Grodd's performance on the flute
was something special...
Courtenay Times Canada, 1989 |
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| ... Uwe Grodd's played...with a beautiful,
golden tone
Kurier Wiesbaden, Germany 1982 |
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Christmas Oratorio by JS Bach -
Hamilton Gardens Pavilion
