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Reviewer: John
W. Barker This is a concert given in April 2017. The skimpy notes (most of the booklet is given over to puffery about the performers) present this as a representation of the music that Vivaldi wrote for his girl-musicians at the Ospedale della Pieta in Venice. There is argument about whether or not Vivaldi allowed male singers in such performances, the thought being that he would have written men’s parts but performed them with girls singing an octave higher. A mixed chorus is used here. Then, too, there is the matter of employing a male countertenor in the alto solos, something Vivaldi would not have done—not even a castrato. So much for recreating a performance at the Pieta!
There are six works. Two of them are instrumental: the String Concerto in G minor, R 156 and the oft-recorded Sonata in E-flat, Al Santo Sepolcro, R 130. The other pieces are liturgical. There is an introductory motet, ‘Filiae maestate Jerusalem’, R 638, meant to preface a Miserere. There is a brief but lively Psalm, Lauda Jerusalem, R 609, for two sopranos and chorus. Each has few recordings just now. Better known is the often recorded alto vehicle, the Stabat Mater, R 621. But what is used to fill the largest space in the program?
Why, the unmpteen-thousandth recording of the Gloria, R 589—hardly deserving another recording, especially in an unexceptional rendering. For some, the interest might be the participation of Scholl. He is in lovely voice, but almost too much so: he brings a gentle sweetness to a lot of the music that deserves more forthrightness—not to mention a true female sound that listeners would expect in the two large works where he sings. The two sopranos (Hanna Herfurtner and Joowan Chung) are quite good, but are of fleeting interest. Choral and orchestral work is of good quality, but little more. In sum, this memento of a concert has little to merit preservation. | ||||
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