Rossini: Stabat Mater

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There is no shortage of good recordings of Rossini's Stabat Mater, but few do this gloriously uplifting work as much justice as Antonio Pappano's new recording...There is a compelling commitment... — bbc.co.uk, 12th April 2011 More…

Release Date: 8th Nov 2010
Catalogue No: 6405292
Label: Warner Classics
Length: 57 minutes

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Rossini: Stabat Mater

Work length57:52

$13.00

$17.00

Anna Netrebko (soprano), Ildebrando D'Arcangelo (bass), Joyce DiDonato (mezzo-soprano), Lawrence Brownlee (tenor)
Coro dell'Accademia Nazionale Di Santa Cecilia, Orchestra dell'Accademia Nazionale di Santa Cecilia
Antonio Pappano
Recorded: 2010-07-01
Recording Venue: 20-23 July 2010, Sala Santa Cecilia, Auditorium Parco della Musica, Roma

Stabat Mater dolorosa (Introduction)

Track length9:27

$1.30

$1.70

Cujus animam gementem

Track length6:16

$1.30

$1.70

Quis est homo

Track length6:20

$1.30

$1.70

Pro peccatis suae gentis

Track length4:44

$1.30

$1.70

Eja, Mater, fons amoris

Track length4:32

$1.30

$1.70

Sancta Mater, istud agas

Track length7:16

$1.30

$1.70

Fac, ut portem Christi mortem

Track length4:35

$1.30

$1.70

Inflammatus et accensus

Track length4:43

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$1.70

Quando corpus morietur

Track length4:16

$1.30

$1.70

Amen. In sempiterna saecula

Track length5:43

$1.30

$1.70

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Antonio Pappano and Italy’s leading symphony orchestra, Orchestra dell’Accademia Nazionale di Santa Cecilia, continue their highly successful collaboration with EMI Classics with a studio recording of Rossini’s work for chorus, orchestra and soloists, Stabat Mater. They are joined by four international star soloists: Anna Netrebko, Joyce DiDonato, Lawrence Brownlee and Ildebrando D’Archangelo.

Reviews

12th April 2011

There is no shortage of good recordings of Rossini's Stabat Mater, but few do this gloriously uplifting work as much justice as Antonio Pappano's new recording...There is a compelling commitment to this performance. The opening chorus, with its hushed cloak-and-dagger atmosphere punctuated by dramatic outbursts, showcases choral singing of a terrific intensity that pins you to your seat.

February 2011

Pappano is alive to nuance and inflection in Rossini's score. He allows Anna Netrebko and Joyce DiDonato ample scope for display but never at subtlety's expense...Imaginatively conceived and beautifully delivered.

January 2011

A precondition for success here is the assembling of a matched quartet of technically accomplished singers blessed with a sense of the Rossini style. Pappano has this absolutely. The pairing of Anna Netrebko and Joyce DiDonato is a match made in heaven...This is one of the great choral recordings.

January 2011

Pappano and his team really nail the work in a way I've not experienced before...What makes this recording so special is how the specifically Italian credentials of the music resound as though to the manner born...this is the most endearing benchmark performance of what is now revealed as a truly honest work.

28th November 2010

Although Rossini isn’t ideal Netrebko repertoire, she sounds positively Verdian in the dramatic hellfire of Inflammatus...Her bright timbre is ideally complemented by DiDonato’s plush, silken mezzo...Pappano lives the text like the great opera conductor he is, bringing consolation as well as fire and brimstone to Rossini’s heady spiritual brew.

11th November 2010

The chief glory here is the Accademia di Santa Cecilia chorus, one of the greatest in the world. It's well played, too, though not everyone will like the edge on the brass. Anna Netrebko fans will like her hell-for-leather Inflammatus, but the best of the soloists is bass Ildebrando D'Arcangelo: well-nigh ideal.

5th November 2010

The blend of Anna Netrebko's soprano and Joyce DiDonato's mezzo-soprano is particularly effective, both in duet form on "Quis est homo", and underpinned by Lawrence Brownlee's tenor on the opening "Stabat mater dolorosa", while Ildebrando D'Arcangelo brings a magisterial poise to his solo

21st November 2010

Pappano's tremendous new recording brings out every ounce of its darkness and force. With a superb quartet of soloists, and the deeply coloured playing and singing of his Italian forces, the piece emerges newly minted as a dramatic masterpiece of harmonic twists and turns, spine-tingling solos and heaven-storming choruses: a superb act of reinterpretation.

19th November 2010

The Accademia Chorus is one of the world’s best, and the full, honeyed tone is a constant pleasure. Another of the recording’s rocks is the bass soloist, Ildebrando d’Arcangelo, who never confuses eloquence with shouting and hits his notes dead centre...Brownlee avoids vocal preening and makes sure we can still sense the text’s grieving mother, sharing Christ’s pain.

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Rossini: Stabat Mater

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