We have left Christmas, but we still have in mind the turrons and funny moments we have spent with family and friends. We also have in our thoughts memories of some of the concerts we've enjoyed these days. One of them, of course, is the Christmas Oratory dedicated to the Kursaal Eszena cycle.

It is a beautiful work, in all sections you see the master of composer Bach. The Oratorio consists of six singers, each for one of the Christmas liturgical festivities. On this occasion we hear four: the first three coincide with the first three Christmas days and the sixth deals with the topic of Epiphany.

As we have said, it is an exciting and yet tender work. However, this Oratory was not considered especially until recently, perhaps because the Bach procedure, called parodia, was not understood. This means that Bach matched the oratory with the themes of the works written earlier. Despite this mix, its beauty cannot be denied.

The version provided by Kursaal Eszena was global. We had a couple of big groups on the stage. On the one hand, the Le Concert Lorrain group that uses instruments of the time and, on the other, the Desdner Kammerchor choir. Both impeccable. Director Andrew Parrott was able to rotate this peculiar sound of the band and master the bitterness of the ancients instrumentos.El choir, under the direction of Robert Schad, appeared very homogeneous on all strings and acted very well at all times.

The four soloists were very convincing. The tenor James Gilchrist made the role of the Evangelist perfectly, very expressive in all recitals. His voice became clear and powerful. The low Peter Harvey explained the exquisite and accurate emission, especially in the duos. In Martha McLorina the contralto could be overshadowed, especially along with soprano Joanne Lunn, her song was so striking and vibrant, so beautiful.

The concert was fresh and perfect, and the audience responded with skewers of enthusiasm.