Salve Regina In F Minor: Eja ergo, advocata nostra
Salve Regina In F Minor: Et Jesum
Salve Regina In F Minor: O clemens
Salve Regina In A Minor: Salve Regina
Salve Regina In A Minor: Ad te clamamus
Salve Regina In A Minor: Eja ergo, advocata nostra
Salve Regina In A Minor: O clemens
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... more » 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. The result isn't bad as such: Barbara Bonney sings graciously and prettily, though with a sound better suited to Schumann or Strauss (for example, she lets her vibrato smudge the suspended dissonances that make the first movement so effective); Andreas Scholl gives a nicely judged, intelligent performance that would probably seem marvelous in another setting. But I can sense no spark at all: the whole recording feels as though it were made because Decca's marketing department thought it would be a good idea, not because the performers felt strongly about the music in any way. The two settings of the Salve Regina (one for each soloist; both share some material with the Stabat Mater) come off a bit better, but they aren't what you'd buy this disc for. Dedicated fans of Scholl and Bonney probably won't be (too) disappointed, but compared to the exemplary, elegant Gillian Fisher and Michael Chance or the thrilling, often surprising Concerto Italiano, this one is hard to recommend. --Matthew Westphal« less
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. The result isn't bad as such: Barbara Bonney sings graciously and prettily, though with a sound better suited to Schumann or Strauss (for example, she lets her vibrato smudge the suspended dissonances that make the first movement so effective); Andreas Scholl gives a nicely judged, intelligent performance that would probably seem marvelous in another setting. But I can sense no spark at all: the whole recording feels as though it were made because Decca's marketing department thought it would be a good idea, not because the performers felt strongly about the music in any way. The two settings of the Salve Regina (one for each soloist; both share some material with the Stabat Mater) come off a bit better, but they aren't what you'd buy this disc for. Dedicated fans of Scholl and Bonney probably won't be (too) disappointed, but compared to the exemplary, elegant Gillian Fisher and Michael Chance or the thrilling, often surprising Concerto Italiano, this one is hard to recommend. --Matthew Westphal
CD Reviews
You won't be disappointed
hcf | 02/20/2000
(5 out of 5 stars)
"I rarely disagree with Matthew Westphal, but this is one of those rare occasions where I must say that he's wrong. This recording is NOT likely to disappoint, whether or not you are a dedicated fan of Bonney and/or Scholl (I'm not). Perhaps this recording was not urgently needed - there are countless other versions of Pergolesi Stabat Mater in the catalogue. So it may well have been that Decca arranged for this recording mainly to cash in on its two brightest young stars (if you ask me, Scholl's Heroes recital was probably the result of the same kind of marketing ploy). But the result is, nevertheless, wonderful. The first aspect of this recording that immediately stands out is the exquisite blend of the two voices. Both voices are similar in tone and warmth; and both seem to be best suited to slow, contemplative music. Some of the faster passages may have benefited from more imagination (I dind't like track 4), but the slower passages are outright hypnotic. I particularly enjoyed tracks 9 and 12. Maybe, in the view of some people "hypnotic" will immediately translate into "undercharacterized," but I meant this epithet as a praise. There are moments in this performance that will simply stop you in your tracks. Scholl's voice is especially effective in the lower register - it amazes me how low he can go without switching out of falsetto. The singers' interpretation of the material is not inventive, but it is graceful and refined, in a way that will probably appeal to the majority of listeners. Hey, simplicity is not always bland! gkolomietz@yahoo.com"
Pergolesi: Stabat Mater
Joukes, Philippe | Mechelen, Belgium | 01/10/2000
(5 out of 5 stars)
"By far the best version published so far. Scholl and Bonney give rare depth and warmth to this lament and are masterly directed by Rousset. An absolute must in any classical collection. I now have 7 different versions and with all respect for previous editions, this one tops everything."
Decent "Stabat Mater"
James D. Boyd | Boulder, CO | 06/07/2000
(4 out of 5 stars)
"The "Stabat Mater" is a marvelous work and if you are looking for a recording of it, you might consider this one because of the two Salva Regina's which accompany it on this recording. Mr. Rousset did an excellent job of programing by putting these works toghether. For the Stabat Mater, I find it difficult to review interpretations of works I have studied carefully because I find I must fight the urge to critique differences of opinion (in tempi or ornamentation, say) rather than the execution of the decisions made.There are a few movements in this recording that are more "spirited" than other interpretations, which takes away from the marvelous interplay between Mr. Scholl and Ms. Bonney. They really do sound very good together. I might have cast a soprano with a more bright sound to go with the brilliance of the Counter-tenor, but I nit-pick. I am heartened to see the resurgance of the counter-tenor in these early music performances."
DRAMATIC
MOVIE MAVEN | New York, NY USA | 07/06/2002
(5 out of 5 stars)
"When I bought this CD, I did so for the voices of soprano, Barbara Bonney and countertenor, Andreas Scholl. Giovanni Pergolesi was really only a name in a music history book. I knew he was Italian and that he lived sometime in the 18th century. I had no idea, for instance, that of all notable composers, his was the shortest life: at 26 he died 9 years younger than Mozart and 5 years younger than Schubert. I also knew some bits and pieces of his most famous work, the opera LA SERVA PADRONA.I was not at all prepared for the truly astoundingly beautiful, somber, medatative, moving STABAT MATER. This is really wonderful music. The performance here, with period instruments under Christophe Rousset, is first rate. Bonney and Scholl sing beautifully together and in their solos. It is a dramatic performance worth owning. HIGHLY RECOMMENDED."
Shimmering, haunting, profound masterpiece of Baroque pathos
Veggiechiliqueen | 06/02/2002
(5 out of 5 stars)
"I was not familiar with the works of G.B. Pergolesi until I saw the Québécois film «Jésus de Montréal,» which used a portion of Pergolesi's Stabat Mater (Quando Corpus Morietur) in the film. I am completely devoted to Andreas Scholl's gorgeous voice, and own almost all of his solo recordings and several of his ensemble works. I had previously purchased Scholl's recording of Vivaldi's Stabat Mater and was interested to hear another interpretation of the Stabat Mater by yet another Baroque Italian composer. Next to Matthäuspassion by Bach, this has become my favourite Baroque religious work. Since purchasing this version of Stabat Mater, I have also bought the June Anderson/Cecilia Bartoli version and the Sara Mingardo/Gemma Bertagnolli version for comparison, but this is still my favourite and will remain so. Andreas Scholl is able to truly convey a sense of passionate melancholy and a adds a touch of the divine to this listening experience."
Track Listings (21) - Disc #1