![]() ![]() The fillers, all finely done, are Pergolesi's Salve Regina in C Minor, Vivaldi's Al Santo Sepolcro and Locatelli's Il Pianto d'Arianna. Here, Orlinski offers a recording of Vivaldis 'Stabat Mater, RV 621,' a core part of his voice ranges repertoire that tells the biblical story of Marys anguish at the cross, appropriately issued for the Easter season of 2022. But it does remind you how forceful its confrontation with mortality is, and how much is gained when sentiment is stripped away. It may not be for you if your preference in this work is for Abbado's warmth or Marc Minkowski's restraint: I found myself wishing that Forck would calm down a bit. ![]() Anna Prohaska's bright-to-the-point-of-glaring soprano contrasts well with Bernarda Fink's dark alto in the solos, but doesn't blend well with it in the duets, and neither possesses a perfect trill. Speeds are on the fast side, and the orchestral sound is at times stark to the point of abrasion. Its latest recording, with the Akademie für Alte Musik Berlin directed by its leader Bernhard Forck, gives us something harsher than we're used to. What continues to astonish, however, is the range of interpretation his most popular score permits. P erformances of the Stabat Mater have proliferated in Pergolesi's tercentenary year, sometimes to the exclusion of his other works. The sequence of Italian baroque masterpieces using the Stabat Mater text is one of the cordilleras of musical accomplishment. ![]()
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