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GRAMOPHONE (01 /2014)
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Reviewer: David Vickers
The vast
Stabat mater discography offers plenty of outstanding interpretations
catering for different tastes. Nevertheless, Julia Lezhneva’s bright-eyed
tone and sensitive shapeliness is an ideal counterfoil to Philippe
Jaroussky’s limpid sincerity. I Barocchisti’s strings balance the
sympathetic phrasing of rhetorical details with the need for the slow music
to flourish in an atmosphere of unaffected simplicity. Livelier movements
occasionally feature some gutsy exaggerations from the band (the over-done
ritornellos in ‘Inflammatus et accensus’), but there is also genteel
elegance – if undermined by hurried tempi – in passages such as ‘Sancta
Mater, istud agas’ (in which both soloists deliver supremely lovely
singing). The conclusion, ‘Quando corpus morietur’, is judged exquisitely.
Diego Fasolis masterminds a compelling paradox of tenderness and vividness
that confirms why Pergolesi’s deathbed masterpiece retains its fascination.
Fasolis’s Swiss-Italian choir has recorded Laudate pueri Dominum and
Confitebor tibi, Domine before under the direction of Abbado but Fasolis’s
own considerably superior Baroque instincts as a conductor yield notably
fresh new benchmarks of these two engagingly extrovert pieces. The choral
singing that finishes the doxology in Laudate pueri and opens Confitebor
tibi is technically immaculate and thrilling, and a succession of arias are
performed with the perfect mingling of zesty devoutness and quasi-operatic
intensity (the solemn ‘Sanctum et terribile nomen ejus’ is sung with
evangelical authority by Jaroussky). Irrespective of how many good versions
of the Stabat mater there are, this is transformed into essential listening
by the two less well-known psalms.
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