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Reviewer: Bertil
van Boer Discs of specific programs appear now and again, particularly if they are to highlight a specific concert. The benefit of these recordings is first and foremost as an historical event, and secondarily to display the talents of a particular group or ensemble. Only at the end of this stream, it seems, is the nod to repertory done, with works that are generally chosen by composer or theme. To depart from this soapbox moment, this disc of a live concert at the Klosterneuburg Abbey seems especially geared towards this sort of performance, for the works chosen are all quite well known and oft recorded.
Indeed, there seem to be more versions of the iconic Gloria (RV 589) that one can perhaps count, so one can wonder what this recording can bring to the fore. First, even in the opening chorus there is a nice energy in the tempos, and a fine resonance provided by the venue, where the microphone placement has enhanced the sound. If one has not experienced the aural intensity of Vivaldi’s work as it was conceived in Venice, then this will serve nicely, even though it makes the sound of the chorus a bit wooly at times. I find a better sound in the solo movements. Sopranos Hanna Herfurtner and Joowon Chung have a fine blend in their Laudamus, while countertenor Andreas Scholl has a deeply resonant voice in his two numbers, though in the Domine Deus, Agnus dei the tempo seems a bit ponderous. His Qui sedes, however, is energetic and powerful, almost stentorian. In the Laud Jerusalem, there are moments of Handelian glory in the driving opening ritornello, and the chorus is forceful and effusive. When the two solo sopranos enter, they soar with bright tones, and the interplay between the soloists and choruses is quite rousing. For the Stabat Mater, Vivaldi’s rendition must forever be compared with the poignant Pergolesi version. It is not that his is inferior, but it is quite different, more solemn and conventional. It is the extra solo voice that favors the Pergolesi, but here the alto solo has an impressive series of movements that range from contemplative to virtuoso. The Filiæ Maestæ is a short cantata, with an especially lilting second aria that countertenor Scholl performs with grace and ease, as the flowing lines weave a lyrical counterpoint to the ostinato ritornello strings. The two instrumental works that preface the vocal numbers are well done, but could just as well have been replaced in the program by more of the sacred works to give it some unity.
How one accepts this disc will depend upon whether one is interested in the depth and resonance of the performance venue, which in turn seems to be part of the performance practice from an audience point of view. It is true that the recording seems to have its share of reverberation, which is some cases makes the sound a bit too resonant and in others gives it a grandeur that must have been noticed when these works were originally performed. All of the works are available in multiple recordings elsewhere, so there is nothing extraordinary here in terms of repertory, but I find that I am drawn to the energy and ambiance after hearing it a time or two. It will not replace those discs of a more precise performance practice, but conductor Rubén Dubrovsky and his group have produced a nice disc that is an interesting alternative. | ||||
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