Search - Alessandro Scarlatti, Eduardo Lopez Banzo, Martin Oro :: Scarlatti: Colpa, Pentimento e Grazia

A voice teacher and early music fan

George Peabody | Planet Earth | 01/28/2006

(5 out of 5 stars)

"TWO CONTRIBUTING FACTORS LEND ADDITIONAL EXCITEMENT AND DRAMA TO THIS DISC: THE WONDERFULLY RESONANT VOICE OF MARTIN ORO (COUNTERTENOR) AND THE LIVE RECORDING ASPECT.



Alessandro Scarlatti (1660-1723) composed many oratorios to celebrate special events. 'Colpa (sin),Pentimento (repentance) e Grazia (grace),subtitled 'Oratorio per la Passione' and created for Easter 1708 evokes the passion of Christ written in part by a great Roman patron of the time, Cardinal Ottoboni. It is more accurately described as an examination of the three allegorical characters of its title - Sin, Repentance and Grace - of their complex inter-relationship in the light of Christ's sacrifice.



I can't believe that no one has commented on this very unusual and exciting oratorio, the text of which is in part a free paraphrasing of the Lamentations of the prophet Jeremiah. It is scored for three voices:La Colpa(mezzo), Il Pentimento(countertenor) and La Grazia (soprano). In some of La Colpa's numbers and those of Il Pentimento Scarlatti uses parts of the Gregorian Chant of the Lamentations, in the manner of an accompanied recitative, or in "arioso" style, always with a strings only accompaniment. The anguished and sorrowing character of La Colpa is contrasted with the lively demeanour of La Grazia, for some of Grazia's arias are quite exuberant.



Scattered throughout the oratorio, are a few impressive duets accompanied by varying instruments. Scarlatti was one of the first composers to appreciate and utilize recitative with instruments, now that he had become firmly convinced that the sonorous intensity and quality of the recitative would not have compromised the sound of the arias. The work is provided with a full and spacious orchestral accompaniment. Scarlatti's own seriousness of intent is evident in this work, not just in the high number of recitatives, but in the brilliantly sparkling addition of trumpets and tympani to the string orchestra - notably to add an ominousness to Sin's vision of the Last Judgement. This effect also continues with the solemn but complelling mood of the music as a whole, easily sustained over the course of this eighty minute work.



The surprise for me was my first hearing of Martin Oro's voice (countertenor). It is richly sonorous with interesting vocal changes as mandated by the text. The sopranos do a good job of maintaining their individual parts especially La Colpa. Though I personally prefer Il Pentimentos' solos I have to say that the trios are delightful both vocally and dramatically! Incidentally, this is a live performance which somehow adds to the excitement. Eduardo Lopez Banzo directs with fervent energy and intelligence! There is an excellent booklet with all the necessary information in Italian, Spanish, French and English."