Pergolesi Stabat Mater
Quality playing for Pappano’s Pergolesi
View record and artist detailsRecord and Artist Details
Composer or Director: Giovanni Pergolesi
Genre:
Vocal
Label: Deutsche Grammophon
Magazine Review Date: 4/2011
Media Format: CD or Download
Media Runtime: 0
Mastering:
Stereo
DDD
Catalogue Number: 477 933-7
Tracks:
Composition | Artist Credit |
---|---|
Nel chiuso centro |
Giovanni Pergolesi, Composer
Anna Netrebko, Soprano Antonio Pappano, Conductor Giovanni Pergolesi, Composer Santa Cecilia Academy Orchestra, Rome |
(Li) prodigi della divina grazia nella conversione di San Guglielmo Duca d'Aquitania |
Giovanni Pergolesi, Composer
Antonio Pappano, Conductor Giovanni Pergolesi, Composer Santa Cecilia Academy Orchestra, Rome |
Ritorno (Questo è il piano, questo è il rio) |
Giovanni Pergolesi, Composer
Antonio Pappano, Conductor Giovanni Pergolesi, Composer Marianna Pizzolato, Contralto (Female alto) Santa Cecilia Academy Orchestra, Rome |
Stabat mater |
Giovanni Pergolesi, Composer
Anna Netrebko, Soprano Antonio Pappano, Conductor Giovanni Pergolesi, Composer Marianna Pizzolato, Contralto (Female alto) Santa Cecilia Academy Orchestra, Rome |
Author: Richard Lawrence
Nel chiuso centro is a cantata on a familiar subject: Orpheus lamenting the death of Eurydice. The opening accompanied recitative, which sets the scene, is followed by two arias separated by another recitative, secco this time. The cheerful imitative ritornello of the first aria soon turns chromatic, a feature developed in the minor-key middle section. Netrebko finds real depth in this deceptively simple music. Questo è il piano is cast differently, two arias enclosing one secco and one accompanied recitative. Here the singer’s woes are caused by unjustified suspicion on the part of his beloved. Supported by the springy rhythmic verve of the strings, Marianna Pizzolato applies her expressive powers so well to yet another shepherd/nymph gripe as to make us actually feel sympathetic.
As last year marked the tercentenary of Pergolesi’s birth, recordings of the Stabat mater – the composer’s most celebrated sacred work – have been coming thick and fast. On Channel Classics (9/10) Elin Manahan Thomas is partnered by countertenor Robin Blaze; on Harmonia Mundi (1/11) the soloists are Anna Prohaska and Bernarda Fink. Both performances are excellent, and either will give much pleasure. But I would urge you to investigate this new one: the singers blend perfectly, and time and again the attention is caught by the quality of the playing. It is a most distinguished issue.
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