Rossini - Petite Messe solennelle
£15.15
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Label: Pentatone
Cat No: PTC5186797
Format: Hybrid SACD
Number of Discs: 1
Genre: Vocal/Choral
Release Date: 12th April 2019
Contents
Artists
Eleonora Buratto (soprano)Sara Mingardo (mezzo-soprano)
Kenneth Tarver (tenor)
Luca Pisaroni (bass)
Wiener Singakademie
Orchestre Philharmonique du Luxembourg
Conductor
Gustavo GimenoWorks
Petite Messe solennelleArtists
Eleonora Buratto (soprano)Sara Mingardo (mezzo-soprano)
Kenneth Tarver (tenor)
Luca Pisaroni (bass)
Wiener Singakademie
Orchestre Philharmonique du Luxembourg
Conductor
Gustavo GimenoAbout
With this Rossini recording, the Orchestre Philharmonique du Luxembourg and its Music Director Gustavo Gimeno continue their acclaimed PENTATONE series of composer portraits that already featured monographs of Shostakovich, Bruckner, Ravel, Mahler, Stravinsky and Debussy. On this album they work together with organist Tobias Berndt, the Wiener Singakademie and a quartet of outstanding soloists: Eleonora Burrato (soprano), Sara Mingardo (mezzo-soprano), Kenneth Tarver (tenor) and Luca Pisaroni (bass).
Sound/Video
Paused
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1Petite Messe Solennelle: I. Kyrie
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2Petite Messe Solennelle: IIa. Gloria In Excelsis Deo
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3Petite Messe Solennelle: IIb. Gratias Agimus Tibi
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4Petite Messe Solennelle: IIc. Domine Deus
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5Petite Messe Solennelle: IId. Qui Tollis Peccata Mundi
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6Petite Messe Solennelle: IIe. Quoniam Tu Solus Sanctus
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7Petite Messe Solennelle: IIf. Cum Sancto Spiritu
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8Petite Messe Solennelle: IIIa. Credo In Unum Deum
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9Petite Messe Solennelle: IIIb. Crucifixus
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10Petite Messe Solennelle: IIIc. Et Resurrexit
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11Petite Messe Solennelle: IV. Preludio Religioso - Ritornello
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12Petite Messe Solennelle: V. Sanctus
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13Petite Messe Solennelle: VI. O Salutaris Hostia
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14Petite Messe Solennelle: VII. Agnus Dei
Europadisc Review
For a start, Gimeno coaxes some idiomatically Italianate sounds from his Orchestre Philharmonique de Luxembourg, with pungent brass not too raw, and wind playing of real distinction. And then there’s the assured choral sound of the venerable Wiener Singakademie, the accomplished amateur chorus of Vienna’s Konzerthaus. They too sound as though they relish the Italian idiom, with its mixture of liturgical tradition stretching back centuries and operatic gestures straight out of the mid-19th century. They excel in the full choral numbers, not least the a cappella ‘Christe eleison’ and the ‘Cum Sancto Spiritu’ that concludes the Gloria. There’s some fine organ playing, too, from Tobias Berndt at the organ of Luxembourg’s Philharmonie, making this performance of the Preludio religioso that precedes the Sanctus one to savour.
What really makes this recording special, however, alongside Gimeno’s sure pacing and innate feeling for Rossini’s style, is the quality of the solo singing. Tenor Kenneth Tarver brings a pleasing ardour to the ‘Domine Deus’, and bass Luca Pisaroni sounds mightily impressive without being overbearing in the ‘Quoniam tu solus’. It was the singing of the young Marchisio sisters, Carlotta and Barbara, that contributed to Rossini’s original inspiration for the Mass; and he would surely have been moved to hear the singing of soprano Eleonora Buratto and mezzo Sara Mingardo on the present disc. Together they deliver a memorable account of the ‘Qui tollis’, while Buratto brings her operatic experience to bear in the bluesy (yes, that’s the right word!) ‘Crucifixus’. It is, however, Mingardo who crowns the performance with her radiant, full-blooded yet ever sensitive singing in the concluding Agnus Dei. She excels in this repertoire, and this is not her first recording of the work, but she seems to inspire choir and orchestra to raise their game still further for the Mass’s closing pages. Indeed, it’s worth of the price of the whole disc for this movement alone.
Pentatone’s exemplary surround sound recording is well up to their usual standards, helped by the Luxembourg Philharmonie’s exemplary acoustics, and booklet documentation includes an authoritative note by Rossini expert Richard Osborne. In a week when the world’s gaze has been turned to events in Paris, this glance back to the city of Rossini’s ‘retirement’ in an earlier era is especially welcome and comforting. ‘Petite’ it may not be, but Rossinians everywhere will certainly applaud it.
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