Rossini's Sins of Old Age

 

Rossini's many volumes of Péchés de Vieillesse are an interesting view of his late-life writings.

The solo piano pieces are the most valuable to me, not a genre the composer was particularly known for. Yet, they were obviously a labor of love.

But there are many songs and choruses as well, mostly of the parlor / salon type, although sacred music featured heavily in the choir genre.

This recording covers the entirety of Volume 2 from the Péchés de Vieillesse, and four more from Volume 3, mostly French-language offerings. The solos and duets comprise a large part of the program, and they are of a variety of moods and emotions with no particular story line running through the group of songs. This means one track could have a song of rather uncouth humor followed by one of despair or emotional import.

Luckily, the soloists here are willing to characterize their singing, providing some staginess to their songs, yet the overwrought sobbing-singing is not my preference.

The choral numbers are mostly secular, however the Ave Maria with pipe organ is completely different the rest, even sonically distancing the chorus in a church-like fashion. Otherwise, the small choral ensemble is assembled more as if a group of amateurs gathered round for a parlor meeting, much in the spirit and joy of communal singing rather than putting on a performance.

This idea is continued with the rather ragtag sounding Erard and wheezy harmonium, bringing the music to the small, chamber scale it was conceived for. Leader Christoph Spering, a well-known name on the period music scene, must have had some inspiration for bringing these works to record, and it is a delightful, if not unusual, performance and recording.

A review from 2024


Rossini’s Péchés de Vieillesse are small works penned late in Rossini’s life; more treasures of the heart than anything dutiful for employment. This recording features the entire 12 songs from Album Français, and four from Morceaux Réservés, mostly French language songs and choruses.


If you like songs and lieder, this recital will give much pleasure. Each song is rather characterful, whether emotionally leaning towards sorrow, dignity, or humor. A couple duets and a few choral numbers are thrown in as well, so there is a fair amount of variety.


This is a period performance of sorts, utilizing a 1800s Erard for the piano and a harmonium when called for. The solo singers works well for their pieces, even if the baritone for the Christmas nocturne is not a favorite, and the opening tenor really commits his voice to extreme ranges.

The cover with ducks and cows suggests a communal singing experience, and I think Christoph Spering’s vision of this comes across pretty well. It is indeed an unusual recording, but appreciated for Rossini’s love of the voice, far after he retired from opera.

Listen on YouTube

Work
Péchés de Vieillesse
  Album Français (53.44)
  Morceaux Réservés (19.28)

Soloists
Maryse Castets, soprano
Mechthild Georg, mezzo-soprano
Jean-Luc Maurette, tenor
Michel Brodard, baritone
Raimond Nolte, bass

Performers
Elzbieta Kalvelage, piano
Marcel Jorand, percussion
Chorus Musicus
Christoph Spering, conductor

Label: OPUS 111
Year: 1992 / 1998
Total Timing: 74.18

A fun recital of vocal music, if not a bit unusual, at least for this listener.

If nothing else, this gives a sense of Rossini's love of music from late in his life.

 

 

 

 

 

 

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