Belfry Messa

Before turning his attention to opera, Puccini wrote a number of wonderful works that are perhaps less well known, even if they already put his full genius on show. This is particularly true of the astonishing Messa di Gloria, whose evocative power and shimmering colours well deserve the exceptional cast on this recording. Indeed, a special passion inspires the soloists and chorus gathered around Gustavo Gimeno and the Orchestre Philharmonique du Luxembourg.

This disc is a tour de force, a world premiere recording of stunning music splendidly performed. The unjustly obscure Antonio Maria Bononcini was appointed late in life to be maestro di cappella in Modena, a post which allowed him to pour his store of invention into two grand sacred works, a Mass and a Stabat Mater. Conductor Rinaldo Alessandrini engages deeply with the composer’s imagination, opening up his dense counterpoint and delicately binding together his vocal and obbligato lines. The musical rhetoric of the Concerto Italiano is spellbinding, particularly when band and singers heighten gestures to surge powerfully towards a passage’s final cadence. However heated their delivery becomes – and the Stabat Mater does sizzle – the artists never rush. This is particularly crucial for bringing out Bononcini’s modulations and textures, which, because they shift rapidly, need space to breathe.

For a few decades now, Fritz Reiner's recording of the Verdi Requiem (one of his rare stereo recordings not made for RCA, and not with the Chicago Symphony) has lurked in the shadowy corners of Decca's catalog, appearing only on budget LPs and CD two-fers. Now, in its latest incarnation as part of the Decca Legends series, it may at last get the recognition it deserves. Reiner's rendition has several things going for it, not least of which are the superstar soprano and tenor soloists.

Puccini ~ Messa di Gloria / Alagna, Hampson, Pappano
EMI | 11 septembre 2001 | Classical | APE+CUE | 3% Recovery | 252 MB | Covers+Booklet | 60'55"

Roberto Alagna and Antonio Pappano are two-thirds of the EMI triumvirate (corresponding member, Angela Gheorghiu), which has done well by Puccini on previous discs. Although this one steps outside the operatic canon into the lesser margins of the composer's output, it's all done so eloquently you forget how undistinguished the material sometimes is. Pappano and the London Symphony Orchestra are clearly in the middle of a love affair and seem to understand each other's every move. Alagna sails through his three sections, making slightly heavy weather of the "Gratias with worrying signs of a widening vibrato, but happy enough in the oddly amiable Agnus Dei" duet with Thomas Hampson. Ffor a good example of the current all-round health of the LSO after several years of conservative core-repertory craft under its chief conductor, Colin Davis, listen to how beautifully the strings phrase the enlarged string quartet movement Crisantemi, which, together with the Preludio sinfonico, makes a welcome filler. –Michael White

"Mayr's Masses were in demand across Europe, and their composition is rooted in the Italian tradition of the messa concertata which demands division into separate vocal numbers. The Mass in E minor has long been recognised as an outstanding example of Mayr's late style, with its polyphonic mastery and dialogues between singers and concertante solo instruments being exceptionally convincing. The Mass in F minor evokes both joy and deep melancholy, though accompanied, as always, by Mayr's notable gift for melodic beauty."

In 1650, seven years after Claudio Monteverdi’s death, the Venetian publisher Alessandro Vincenti, with the help of Francesco Cavalli, a student and successor of Monteverdi, decided to put together the compilation Messa a quattro voci et salmi. It was a unique tribute to Monteverdi. In an era when looking back was not fashionable, the preservation of written music was rare, and for the most part the names of dead musicians were quickly forgotten, Monteverdi’s fame seemed to persist for a long time.

Ever since his brilliant first appearance in Munich with the Requiem, he is still a regular guest at the BR. Riccardo Muti is currently regarded as a mature representative of the great Italian tradition. This CD release therefore has to be seen as a “classically polished gem” – a gem that shines and flashes as beautifully and as brilliantly as ever!