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Pergolesi - Stabat Mater (Fabio Biondi; Europa Galante)

APE = 254 mb | MP3 (lame --preset standard) = 78 mb

Recorded 2005 | Released 2006

"Wonderful version." - Musicweb International

"I have yet to hear a finer account." - Amazon editorial

Personnel:

Dorothea Röschmann: soprano

David Daniels: counter-tenor

Europa Galante - Fabio Biondi (direction, violin)

Recording:

6-9, 11-14 August 2005, Studio Flagey, Brussels, Belgium

Virgin Classics 3633402

Track listing:

1. Stabat Mater: Stabat Mater dolorosa

2. Stabat Mater: Cujus animam gemetem

3. Stabat Mater: O quam tristis ed afflicta

4. Stabat Mater: Quae moerebat et dolebat

5. Stabat Mater: Quis est homo qui non fleret

6. Stabat Mater: Vidit suum dulcem natum

7. Stabat Mater: Eja Mater, fons amoris

8. Stabat Mater: Fac ut ardeat cor meum

9. Stabat Mater: Sancta Mater, istud agas

10. Stabat Mater: Dac in portem Christi mortem

11. Stabat Mater: Inflammatus et accensus

12. Stabat Mater: Quando corpus morietur

13. Salve Regina in F minor: Salve Regina

14. Salve Regina in F minor: Ad te clamamus

15. Salve Regina in F minor: Eja ergo, advocata nostra

16. Salve Regina in F minor: Et Jesam

17. Salve Regina in F minor: O clemens

18. Salve Regina in A minor: Salve Regina

19. Salve Regina in A minor: At te clamamus

20. Salve Regina in A minor: Eja ergo, advocata nostra

21. Salve Regina in A minor: O clemens

Reviews:

Musicweb International

The featured work on this release of three of Pergolesi’s sacred works is the renowned Stabat Mater. The Italian-born composer during his short life became known mainly for the success of his comic opera La Serva Padrone.

Settings of the Stabat Mater use great medieval texts for musical depictions of the Virgin Mary’s grief at the foot of the Cross. Pergolesi’s commission was given by the Confraternity of the Knights of the Virgin from the Church of Santa Maria dei Sette Dolori (Our Lady of the Seven Sorrows) in Naples. They desired a modern score to replace the usually performed Stabat Mater that the order had commissioned from Alessandro Scarlatti some twenty years earlier. Pergolesi’s Stabat Mater soon attracted widespread acclaim and was performed all over Europe in many different editions. Shortly after completion at the Capuchin monastery at Pozzuoli the composer died there from consumption.

It seems from the information in the booklet notes that Fabio Biondi and Europa Galante employ similar instrumentation to that Pergolesi had used in his original version of the score: soprano and contralto soloists, two violins, viola, and basso continuo. The contralto part is taken by the world famous counter-tenor David Daniels.

I have not been totally satisfied with any of the recordings that I have come across over the years. I favour the period instrument accounts over the weightier versions that utilise larger orchestral forces and modern instruments. The present period instrument version is the finest that I have heard. Here Biondi’s performers expertly achieve the demanding blend of the dramatic expression of opera with the spiritual exaltation of a sacred hymn to the Virgin Mary. My highlight is the opening section of the score - the Stabat Mater dolorosa - where the purity and transparency of the striking and responsive voices of Röschmann and Daniels take the breath away. I was also highly impressed by the deeply moving spiritual serenity of the Largo duet sections Quis est homo qui non fleret and Quando corpus morietur.

According to my reference book Pergolesi wrote five settings of the Salve Regina an antiphon in praise of the Virgin Mary. Both settings on this release were originally conceived for solo soprano. The F minor score was subsequently transposed from its original C minor to make it suitable for contralto. Fabio Biondi directs highly accomplished performances that crucially combine spirit with reverence. The solo singing is glorious and one cannot help noticing the crystal clear diction of the two soloists.

The booklet notes are exemplary containing full Latin texts with German, French and English translations. Recorded at the Studio Flagey in Brussels in 2005 the admirable sound quality provided by the engineers is cool, vivid and well balanced. At a running time of fifty-seven minutes it is a shame that Virgin Classics chose not to fill-up the disc with another score. Vivaldi’s Stabat Mater, RV 621; Nisi Dominus, RV 608 or Magnificat, RV 611 would have made suitable additions.

Pergolesi’s Stabat Mater is a frequently recorded sacred work with dozens of recordings currently available. Consequently any recording must be of the highest possible quality to gain recommendation status. This wonderful Virgin Classics version will take pride of place over the half dozen versions that I have in my collection. Other excellent versions that will provide pleasure are from Il Seminario Musicale with Veronique Gens and Gerard Lesne for their vigour and joy on Virgin VC5 45291-2; Les Talens-Lyriques with Barbara Bonney and Andreas Scholl under Christophe Rousset for their fresh and lively performance on Decca 466 134-2 and the incisive and dramatic impact of Gemma Bertagnolli and Sara Mingardo with the Concerto Italiano under Rinaldo Alessandrini on Opus III OP 30-160.

Amazon.com editorial

The market is loaded with recordings of Pergolesi's beautiful, graceful "Stabat Mater" and there are also plenty of versions of both "Salve Regina" selections to choose from. The young Pergolesi, who died at age 26, had a flair for the theater and the "Stabat Mater" was often accused of being too operatic. Fabio Biondi presents it (and the other two pieces) without much sentimentality and he uses a vastly reduced orchestra--a mere three violins, viola, cello, double bass, and theorbo (and organ)--which brings the stark religiosity to the forefront. That is not to say that these pieces aren't sensual as well; soprano Dorothea Röschmann's mesmerizing, warm tone and David Daniel's flawless, forwardly placed countertenor are lush enough to create drama of their own. And Biondi chooses tempi that are quick enough to give each movement thrust while lingering on Pergolesi's dissonances effectively. The two "Salve Regina" selections are scored for one voice each and each soloist shines brightly. Among the many versions of these works, this new set stands out.

Biondi, using authentically-scaled forces, directs beautifully shaped performances that contain the appropriate balance of reverence and dramatic expression. Röschmann and Daniels were inspired choices. I have yet to hear a finer account of the Stabat Mater.

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Exact Audio Copy V0.99 prebeta 5 from 4. May 2009

EAC extraction logfile from 23. April 2010, 22:45

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