Stabat Mater Op. 58 [87.34]
Mariana Zvetkova (soprano); Ruxandra Donose (mezzo); Johan Botha (tenor); Roberto Scandiuzzi (bass)
Chor des Sachsischen Staatsoper, Dresden/Staatskapelle Dresden/Giuseppe Sinopoli
rec. live, April 2000, Sachische Staatsoper, Dresden, DDD
Latin text, English, French, German translations included
DEUTSCHE GRAMMOPHON 4710332 [54:27 + 33:07]
Giuseppe Sinopoli (1946-2001) was a controversial figure. He
was much admired in some quarters, especially for his work in
the opera house but was subject also to strenuous criticism by
those who felt he often adopted extreme tempi or indulged in detail
at the expense of the broader picture.
This recording of Dvořák’s Stabat Mater
was made with the Dresden Staatskapelle, of which he was chief
conductor at the time of his premature death, which occurred exactly
a year later, in April 2001. It features music by a composer with
whom, to the best of my knowledge, he had not previously been
much associated.
It has been fascinating to compare this recording with the much-admired
one made by Rafael Kubelik in 1976, also for DG. From the start
of his recording it is clear that Sinopoli is intent upon a dramatic
reading. In the first couple of minutes he screws up the tension
to a higher degree than Kubelik does. In this he is assisted firstly
by a more closely balanced recorded sound and secondly by fabulously
rich-toned playing from the Dresdeners. Kubelik’s Bavarian
Radio orchestra is also first rate but the Dresden players seem
to me to be even more eloquent and responsive. Sinopoli is also,
perhaps, a shade more attentive to detail, particularly in observance
of accents. Actually, he is acutely attentive, without ever jeopardising
the flow of the music, but I would not wish to imply in any way
that Kubelik is superficial.
The two conductors offer a fascinating contrast. Kubelik, a renowned
and seasoned interpreter of Dvořák, takes a more lyrical
view, treating the work as a “traditional” sacred
piece. By contrast, Sinopoli offers a much more operatic view.
It is surely no coincidence that Jan Smaczny, in his very good
notes, points out that prior to writing the Stabat Mater,
Dvořák’s largest-scale compositions had been
operas.
The choice of soloists for both recordings was almost certainly
dictated by the approaches of the respective conductors. Kubelik
has an excellent quartet including Edith Mathis, the admirable
Anna Reynolds, Wieslaw Ochman and John Shirley-Quirk. All these
are especially noted for their concert work. Sinopoli’s
team sound much more operatic in approach. I enjoyed the contributions
of the soprano and the tenor. Mariana Zvetkova possesses a strong,
well-focused voice and, where necessary, she can ride comfortably
over the top of the full ensemble. Jan Botha sings with pleasing,
unforced tone and he, too, has power in reserve when it is called
for. Both Ruxandra Donose and Roberto Scandiuzzi sing with too
wide a vibrato for my taste, though others may disagree. Scandiuzzi’s
very first entry in the first section, ‘Stabat Mater dolorosa’
(at 11:41) is a little democratic in pitch and although matters
improve thereafter a steadier voice is called for, particularly
for repeated listening. Ruxandra Donose suffers by comparison
with Anna Reynolds, a much-underrated singer, who sings for Kubelik
steadily and sincerely. By contrast Donose seems to be trying
too hard. Heard purely as voices I prefer the Kubelik quartet,
particularly the lower ones. However, it must be said that Sinopoli’s
singers suit his interpretation perfectly – just as Kubelik’s
team fits his conception.
Both recordings feature very good choral contributions. The Dresden
choir is recorded more forwardly than their Bavarian counterparts.
However, this is because in 1976 the DG engineers opted for a
less up-front, more natural concert hall perspective which some
listeners may find preferable. The sound is not as immediate but
gives a better representation of what one might hear at a live
concert. Paradoxically, although the Dresden choir is recorded
in a more “present” perspective they are sometimes
at a disadvantage against the powerful sound of the orchestra:
other ears - and other audio systems - may register this differently.
The Sinopoli reading is extremely dramatic. However, I most certainly
do not find it dramatic just for the sake of drama. He presents
a completely valid view of the work and newcomers to the piece
in particular may respond very favourably to a red-blooded treatment
such as this. I enjoyed the performance very much, finding it
compelling and cogent. The recorded sound is rich and full. Although
this is advertised as a ‘live’ account there is no
trace of audience noise. Would that some British concertgoers
were so silent.
John Quinn
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