RECORDING OF THE MONTH
Gioachino ROSSINI (1792-1868)
Petite Messe Solennelle (1864)
Alexandrina Pendatchanska (soprano)
Manuela Custer (Alto)
Stefano Secco (tenor)
Mirco Palazzi (bass)
Choir of the Leipzig Opera; The Gewandhaus Choir
Gewandhausorchester, Leipzig/Riccardo Chailly
rec. live, Gewandhaus Leipzig, 6-7 November 2008
Picture format DVD: NTSC. 16:9. Sound formats: PCM Stereo, DD 5.0, DTS 5.0
Booklet notes in English, German, French
Subtitles: Latin, English, German, French, and Spanish.
EUROARTS DVD 2057428 [85:00]
Gioacchino Rossini's Petite Messe Solennelle was written in 1863, the
last, the composer called it, of my péchés de vieillesse (sins
of old age). He wrote the work for the consecration of the private chapel
of the work’s dedicatee, Countess Louise Pillet-Will, a personal friend. For
its first performance on 14 March 1864 Rossini arranged the work with only
two pianos, harmonium, four soloists and a choir of twelve. Partly for fear
that it would be done anyway after his death, Rossini discreetly orchestrated
the Petite Messe Solennelle during 1866-67 and in doing so the king
of opera buffa showed his skill in counterpoint in the two extended double
fugues, much as Verdi had done in the finale of his last opera Falstaff.
The resulting orchestrated version had its first public performance on 28
February 1869, three months after the composer's death.
The magnificently orchestrated version was performed at the Leipzig Gewandhaus
in November 2008 on the occasion of the 140th anniversary of the composer's
death. The Gewandhaus Orchestra, along with Kurt Masur, its conductor at the
time, will always be remembered for their part in the fight for freedom in
1989 as the East German Government sought brutally to repress the population.
The stand they took against the repression precipitated the fall of the hated
Berlin Wall and the re-unification of Germany. Is it too far to stretch the
appropriateness of a performance of a Latin Mass, and its promises of eternal
life, with the ideal for which they stood? Certainly these choral and orchestral
forces, along with distinguished soloists, in the magnificent theatre and
under the baton of a renowned Rossinian, brought such thoughts to my mind.
The joint choruses, with the women of the two choirs distinguished by dress,
and all the men in white tie, sing with a thrilling clarity and commitment
that not only shakes the rafters but warms the soul. They open softly in the
Kyrie (CH.2), are fully vibrant in the opening of the Gloria
(CH.3) and are outstanding in the contrapuntal Cum Sancto Spiritu (CH.8).
The orchestral contribution is equally magnificent with low strings and wind
notable in the opening as are the brass and wind in the Gratis agimus tubi
(CH.4). Before mentioning the singers I must also highlight Rossini’s writing
for the organ in the Preludio religioso (CH 12) and the organist Michael
Schönheit on the large and magnificent instrument from which he draws such
elegiac sounds. It is particularly interesting to see his pedal work in close-ups
as well as hands moving over the keyboard. The muting mechanism gives further
insight into the tonal diversity of this quite large and magnificent instrument.
The solo singers are well up to their task. The two ladies, the tall blonde
Manuela Custer, with a sappy resonance and suitable lower notes, alongside
the dark-haired warm dramatic coloratura soprano of Alexandrina Pendatchanska,
blend well in the Qui tollis (CH.6). I might suggest they blend far
better than the famous female duo in the recent recording of the Stabat
Mater (see review).
Pendatchanska’s creamy tone is heard to advantage as soloist in the Crucifixus
(CH.10) whilst the alto has the concluding long Agnus Dei (CH.15) in
which her singing is a glory in itself. Whilst the ladies hark from Bulgaria
and Romania, the two men are native Italians. Perhaps Mirco Palazzi, whilst
his pitching and expression allied to smooth legato is fine, could do with
a little more sonority and gravitas, (CHs.3 and 7). When we often grumble
of tasteless tenor singing, the native fluent squilla of Stefano Secco’s lyric
tenor lays easily on my ear, particularly in the Gratius (CH.4) with
its echoes of the Cujus animam from the composer’s Stabat mater.
This work is titled Petite Messe Solennelle. It is neither small nor,
in this dramatic reading by Riccardo Chailly, can it be deemed solemn. If
this creation is a sin, my old age, and many others, could be better used!
This performance strongly gives the work the right to claim as an equal to
stand alongside the composer’s other great choral work the Stabat Mater,
and elevates it to be counted in the company of that other great Mass composed
by a renowned composer of opera, Verdi.
The camera-work is nicely balanced between orchestra, instrumentalists, audience
and chorus with the odd view of the dynamic Riccardo Chailly. His reading
is profound, bringing out colours and drama that many others have failed to
appreciate. The booklet essay, in English, German, French, is brief but informative.
Robert J Farr
This performance not only elevates this rarely heard work to stand alongside
the composer’s better-known Stabat Mater, but also the great Mass by
his fellow Italian opera composer, Verdi.