Das Ensemble L`Archibudelli um den Cellisten Anner Bylsma hat gemeinsam mit der wunderbaren Sopranistin Roberta Invernizzi die äußerst selten eingespielte Messe von Luigi Boccherini in einer fantastischen Einspielung neu aufgenommen. Trotz minimaler Bestzung ohne Chor und Bläser wird der Hörer von der Dramatik der einzelnen Sätze gefesselt. Rberta Invernizzi bringt mit klarer und feiner Stimme jede einzelne Wendung dieses interessanten Werkes voll zur Geltung und das Streicherensemble brilliert mit kraftvoll zupackendem Ton und wunderbaren langsamen Sätzen. Das Stabat Mater wird ergänzt durch die Streichquintette op. 42. Eine neue Referenzeinspielung der Vivarte- Reihe für alte Musik.
The music on this disc is surprisingly lovely and varied. I say surprisingly because the only other performance of the Boccherini I am familiar with, on Erato, is fairly staid, safe and dull. However, I shouldn't really be surprised as Boccherini is always rewarding in safe hands, and there aren't many safer than Robert King. On this recording, partly due to its sparse instrumentation, the Boccherini emerges as a sacred chamber opera, quite theatrical in parts, carrying echoes of Pergolesi's famous predecessor. The final "Quando corpus morientur" is filled with pathos, sadness and longing….
Baroque music is not the usual province of soprano Anna Netrebko, or contralto Marianna Pizzolato, or conductor Antonio Pappano, or the Orchestra dell'Accademia Nazionale di Santa Cecilia, Roma, so the listener might approach this tribute to the 300th anniversary of Giovanni Battista Pergolesi with some skepticism, but the performers do a terrific job. The orchestra uses modern instruments, so this is never going to be mistaken for a recording by Baroque specialists, but everyone involved approaches the challenge with such sensitivity and such evident excitement that listeners who don't demand absolute adherence to cutting-edge developments in early music practice are likely to be swept up.
Certainly the somber beauty of Pergolesi's Stabat Mater for soprano, alto, and strings has a lot to do with its popularity. But it must be said that the story of the 26-year-old composer completing the work on his deathbed has always been too romantic for the public–or the music business–to resist. "The instant his death was known," wrote the famous 18th-century traveler Dr. Burney, "all Italy manifested an eager desire to hear and possess his productions." And so it's been ever since. In spite of the competition already on the market, it seems Decca just had to get its prize lyric soprano and hotshot young countertenor together to record the piece. –Matthew Westphal
This is the simply a slpendid recording- well paced, energetic and in excellent sound. I have a suspicion that many people drawn to these works pay undo emphasis on the choir [or they are choir singers] and understandably get frustrating when the choir is not front and center in the musical proceedings. But what Poulenc wrote here does not emphasize the choir [he was a master instrumentalist after all!] so the orchestra should be more prominent at times. Ragardless, this is a great performance!