Settings of the
Stabat Mater employ great medieval texts for
musical depictions of the grieving Virgin Mary at the foot of the Cross. The
devotional setting has had an enduring popularity with composers that
include: de Lassus, Palestrina, Vivaldi, Schubert, Verdi,
Dvořák, Stanford, Szymanowski and Poulenc.
Pergolesi’s commission for the
Stabat Mater for
soprano, alto, strings and continuo came from the Confraternity of the
Knights of the Virgin from the Church of Santa Maria dei Sette Dolori (Our
Lady of the Seven Sorrows) in Naples. The Order required a modern score to
replace the usually performed
Stabat Mater that they had commissioned
from Alessandro Scarlatti some twenty years earlier. The Pergolesi work soon
attracted widespread acclaim and was performed all over Europe in many
different editions. Soon after its completion Pergolesi died from
tuberculosis at the Capuchin monastery at Pozzuoli in 1736, aged only
twenty-six.
My highlight of the work is the celebrated opening section where the
responsive voices of counter-tenor Philippe Jaroussky and soprano Julia
Lezhneva sing with an affecting purity that threatens to take the breath
away. In the engaging aria
Quae moerebat et dole bat Jaroussky sings
radiantly demonstrating his remarkable feeling for the text. The soprano
aria
Vidit suum dulcem natum is given an engaging rendition by
Lezhneva. It’s high on reverential feeling and she soars confidently
to the high notes. Decidedly impressive too is the deeply moving serenity of
the
Largo duet sections
Quis est homo qui non fleret and
Quando corpus morietur.
The Pergolesi
Stabat Mater is frequently chosen with a number
of recordings currently available. Of those recordings from period
instrument ensembles I place this Erato at the top of the pile. Also worthy
of attention is the account by Europa Galante directed by Fabio Biondi with
soloists Dorothea Röschmann (soprano) and David Daniels (counter-tenor)
on Virgin Classics. Recorded in 2005, at Studio Flagey, Brussels, Biondi,
employing what he considers authentically scaled forces, directs beautifully
shaped performances.
Next comes the
Laudate pueri Dominum - a setting of Psalm 112
(113). Cast in seven sections with weighty and highly appealing outer
movements this is richly scored and includes parts for trumpets and oboes.
The combined effect of the singers and instrumentalists is highly satisfying
with the
Quis Sicut Dominus Deus Noster and the long legato lines of
the
Gloria Patri being agreeably devotional.
The final work is the
Confitebor tibi,
Domini - a work
thought to have been written before 1732. A setting of Psalm 110 (111) the
score is again presented in seven sections. Although the string and continuo
accompaniment is comparatively light the opening
Confitebor tibi
Domini felt joyous and spirited, offering sincere praise of the Lord.
The emotional heart of the score is the
Sanctum et terribile Nomen
ejus,
wonderfully sung by Jaroussky with an abundance of sacred
drama. He evidently relishes the opportunity to display his striking
coloratura.
These are excellent performances directed by Diego Fasolis of three
works from Pergolesi’s sacred music. Together they strike an
outstanding balance between reverence and dramatic expression. Coro della
Radiotelevisione svizzera, Lugano, who include eight sopranos in their
twenty-strong complement, sound impeccably prepared. Their singing is
impressively even and unified and radiates respect and enthusiasm for the
sacred texts. The early music orchestra I Barocchisti comprises twenty-six
players including a string section of fifteen. They provide colourful
orchestral accompaniment. Fasolis’s confident direction sets lively
tempi that are full of a spirit that secures both light and clarity of
texture. Jaroussky’s velvety voice is in marvellous condition. He is
undoubtedly the foremost counter-tenor of his generation comparable to
Andreas Scholl in his prime. His formidable technique and highly appealing
tone is allied with an astonishing feeling for vocal colour. This he
achieves while maintaining an appropriate reverence. Also impressive is
Russian soprano Julia Lezhneva. She sings with satisfying security and has a
distinct purity to her clear tone and rapid-fire coloratura delivery.
I find it hard to imagine this recording of these sacred scores
being bettered.
Michael Cookson
Previous review:
Johan van Veen
