Browse: Vivaldi - Stabat Mater, RV621
This page lists all recordings of Stabat Mater, RV621 by Antonio Vivaldi (1678-1741).
Daniel Taylor (counter-tenor and Director), Emma Kirkby (soprano)
Theatre of Early Music
Emma Kirkby at her most serene is matched by Taylor as if they were two faces of a single musical entity. With first-rate surround-sound recording and a warm ambience, this is a disc not to... — More…
Sacred Works for Alto
Philippe Jaroussky (counter-tenor)
Like all the finest recordings of Vivaldi's sublime hymn...Jaroussky strikes a contoured balance between poetic tenderness in the narrative, emotional expressiveness in the descriptions of Mary's... — More…
Samuel Mariño, Filippo Mineccia (counter-tenor), Orchestre de l'Opéra Royal, Marie Van Rhijn
Due for release on 12th Mar 2021
Andreas Scholl (counter-tenor)
Ensemble 415, Chiara Banchini
Here's a very attractively prepared menu whose main course is the Stabatmater for countertenor and strings.
Hors-d'oeuvres and side-dishes consist of a ripieno concerto (RV114), a chamber cantata... — More…
Christopher Warren-Green (director, violin), Rosemary Furniss (violin), Elizabeth Layton (violin), Thomas Bowes (lead vocals), Beverly Davison (lead vocals), Gerald Ruddock (lead vocals), Graham Ashton (trumpet), Gordon Hunt (oboe), Andrew Shulman (cello), Meyrick Alexander (bassoon), Alexander Balanescu...
Angharad Gruffydd Jones (soprano), Lawrence Zazzo (counter-tenor), Sytse Buwalda (alto), Maria Zadori (soprano), Paul Esswood (counter-tenor), Elin Manahan Thomas (soprano), Jeremy Budd (tenor), Rob Mcdonald (bass), Francesca Boncompagni (soprano), Krisztina Laki (soprano), Julia Hamari (contralto),...
Joowon Chung (soprano), Andreas Scholl (countertenor)
Salzburger Bachchor, Bach Consort Wien, Rubén Dubrovsky
This is an excellent live recording of a concert given at the Basilika Stift Klosterneuburg. Two of Vivaldi’s instrumental works act as a prelude to the sublime countertenor voice of Andreas... — More…
Sara Mingardo (contralto)
Concerto Italiano, Rinaldo Alessandrini
Mingardo's singing instantly grabs the heart of the listener; it is not so much a narrative description of Mary's lament but more like a first-person tragic soliloquy that might brings an atheist... — More…