Giovanni Pergolesi, Alessandro Scarlatti, Rinaldo Alessandrini, Gemma Bertagnolli, Sara Mingardo, Concerto Italiano - Pergolesi A· Scarlatti - Stabat Mater / Bertagnolli A· Mingardo A· Concerto Italiano A· Alessandrini

Pergolesi's legendary Stabat Mater for solo soprano and alto acquired its mystique early on: not only does it boast striking melodies and harmonies, but the composer finished it just days before dying of tuberculosis at age 26. That irresistibly mythic circumstance, combined with the sacred nature of the text, led to an air of reverence that has surrounded the work for two centuries. It's this reverence that Rinaldo Alessandrini means to strip away, showing us the very theatrical style in which Pergolesi actually wrote. Using only six period string instruments rather than the customary small orchestra, Alessandrini directs a remarkable performance: the very quick or very slow tempos, sudden accents, and dynamic extremes are often surprising but always credible. Alessandro Scarlatti's Stabat Mater, written for the same forces (for the same institution in Naples, in fact) as Pergolesi's setting, is a more temperate piece, with less theatrical intensity but more counterpoint and florid vocal writing. Both soloists have attractive voices (though soprano Bertagnolli shows occasional strain on high notes), with just enough narrow vibrato to appeal to traditional voice fans without alienating early-music lovers. Most importantly, they have the courage and the skill to bring Alessandrini's daring conception off. If you want a conventionally reverent reading, you should try Gillian Fisher and Michael Chance, but this performance really is thrilling. --Matthew Westphal Amazon.com

One of the best Stabat Mater

Pergolesi's Stabat Mater is often played too grossly, with the usual over-vibrato from the singers and the impassiveness of the orchestra.

This interpretation is not like the others, it is soft and calm. From the first movement (taken very slowly) you are driven into a peaceful atmosphere that will awake all sorts of emotions.

Listen to it, even if it's only for the last movement (Quando corpus morietur) that will make you cry. To dry your tears, the last Amen will bring you serenity. July 25, 2006

Fabulous performance!

It is impossible to expect an unimaginative or uninvolved performance from Concerto Italiano. Alessandrini and his 2 marvelous divas perform both Stabat Maters with white-hot passion and fervour. Gemma Bertagnolli and Sara Mingardo nead not fear comparisons with anyone, both of them have great voices and know very well what they are singing. Even the recent Bonney/Scholl recording on DECCA comes in second place to this OPUS111 offering. October 22, 2000

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