Rossini gives the weight of the Stabat Mater setting to the opening and closing movements.
Otherwise, the middle portion finds Rossini composing in full opera mode, with arias, recitatives, and ensemble work which do not sound all that far from the stage.
For me, this is all OK, for Rossini never fails to put a smile on my face. Perhaps that is the wrong attitude for a Stabat Mater, the heaviest of choral sequences, but if you know what you are getting into, it is a great ride.
As with Marriner's traversal of the Messa di Gloria, these London performers are great, but I could imagine a more gripping Italiante sound from the chorus.
A review from 2021
Gioachino Rossini, the master of the most belovédly tuneful comic operas, tackles one of the saddest sequences of Mary grieving for the death of Jesus. Usually reserved as the most intimate settings for chorus or voice, Rossini’s focus is symphonic of scope, with a spotlight for burly solo voices and a few sizeable moments for chorus. This 1971 performance has been a strong recorded standard of the work, and it remains in very good Decca sound.
The outer movements (of ten) and the center movement are the most moody, almost terrifying at times, and it is these areas with chorus and soloists that most successfully set the mood of Rossini’s Stabat Mater. The rest are mostly solo arias and duets that are drippingly Italianate and verge on pure melodic sunshine at times. I could see someone approaching this work, expecting the most serious-minded religious experience, being unhappy with the proceedings; Rossini delivers extremely grandiose, tuneful solos that could easily be placed into one of his operas.
Still, Rossini captivates with his orchestrations, ones that diverge from his bouncy operatic background music he normally provides. Furthermore, there are some unexpected chromatic lines and harmonies, particularly in those a cappella chorus movements, that show a progression of Rossini’s abilities. The finale is a most unusual full-fugue setting, a German choral technique that sounds like Rossini is directly providing an homage to Handel and Bach.
István Kertész, leading the London SO, is fully on board for high drama and songful Romanticism. The finale’s tempest is a frightening rendition that easily stands with the very finest. Only the chorus is distinctly English, where I could image more full-blooded Italian sopranos, but the LSO chorus rise to the occasion very nicely nonetheless.
The four soloists are a solid, international ensemble and sing quite well together. It is particularly good to hear from Pavarotti, who handles the extremely high D-flat with ease. The rest are a distinct pleasure to hear together; it would be hard to imagine a finer team.
Those expecting contemplative, devout piousness to accompany the Stabat Mater’s sorrowful texts should look elsewhere. For the rest of us, Kertész, the LSO plus chorus, and starry soloists provide a bracing, yet joyous account of Rossini’s symphonic sacred setting.
Listen on YouTube
Works
Stabat Mater
Soloists
Pilar Lorengar, soprano
Yvonne Minton, mezzo-soprano
Luciano Pavarotti, tenor
Hans Sotin, bass
Performers
London Symphony Chorus
London Symphony Orchestra
István Kertész, conductor
Label: Decca
Year: 1971 / 1988
Total Timing: 54.05
I think all of Rossini's Sacred Music settings are worth a look, especially if you like how the composer writes for operas.
Another great set of soloists, allied with the LSO and Kertész in a winning combination.
Find more Rossini recordings HERE!
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