Pergolesi: Stabat Mater

作曲 Giovanni Battista Pergolesi , 指揮 Christophe Rousset , オーケストラ Les Talens Lyriques , 演奏 Barbara Bonney , 演奏 Andreas Scholl
マーケットプレイス価格:¥ 1,526 (税込)

JAN:0028946613429 売上ランキング:音楽で5965位

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  1. Stabat Mater
  2. Stabat Mater: Cujus animan gementem
  3. Stabat Mater: O quam tristis
  4. Stabat Mater: Quae moerebat et dolebat.
  5. Stabat Mater: Quis est homo
  6. Stabat Mater: Vidit suum dulcum natum.
  7. Stabat Mater: Eja mater
  8. Stabat Mater: Fac ut portem
  9. Stabat Mater: Sancta Mater
  10. Stabat Mater: Fac ut portem
  11. Stabat Mater: Inflammatus et accensus
  12. Stabat Mater: Quando corpus
  13. Salve Regina In F Minor: Salve Regina
  14. Salve Regina In F Minor: Ad te clamamus
  15. Salve Regina In F Minor: Eja ergo, advocata nostra
  16. Salve Regina In F Minor: Et Jesum
  17. Salve Regina In F Minor: O clemens
  18. Salve Regina In A Minor: Salve Regina
  19. Salve Regina In A Minor: Ad te clamamus
  20. Salve Regina In A Minor: Eja ergo, advocata nostra
  21. Salve Regina In A Minor: O clemens
Certainly the sombre beauty of Pergolesi's Stabat Mater for soprano, alto, and strings has a lot to do with its popularity. But it must be said that the story of the 26-year-old composer completing the work on his deathbed has always been too romantic for the public--or the music business--to resist. "The instant his death was known," wrote the famous 18th-century traveller Dr Burney, "all Italy manifested an eager desire to hear and possess his productions." And so it's been ever since. In spite of the competition already on the market, it seems Decca just had to get its prize lyric soprano and hotshot young countertenor together to record the piece.

The result isn't bad as such: Barbara Bonney sings graciously and prettily, though with a sound better suited to Schumann or Strauss (for example, she lets her vibrato smudge the suspended dissonances that make the first movement so effective); Andreas Scholl gives a nicely judged, intelligent performance that would probably seem marvellous in another setting. But I can sense no spark at all: the whole recording feels as though it were made because Decca's marketing department thought it would be a good idea, not because the performers felt strongly about the music in any way. The two settings of the Salve Regina (one for each soloist; both share some material with the Stabat Mater) come off a bit better, but they aren't what you'd buy this disc for. Dedicated fans of Scholl and Bonney probably won't be (too) disappointed, but compared to the exemplary versions by Seminario Musicale or the thrilling Concerto Italiano, this one is hard to recommend. --Matthew Westphal