Rossini Solennelle

The most comprehensive edition devoted to Gioacchino Rossini marking his 150th anniversary. Born in 1792, Rossini was the most popular opera composer of his time. Although he retired from the Opera scene in 1829, he continued to compose in other genres, including sacred music, piano and chamber works. He did gather his late works under the ironic title Péchés de vieillesse (Sins of Old Age), which veils a true collection of masterworks.

After the celebrated Stabat Mater, already recorded to great acclaim by the RIAS-Kammerchor, here is Rossini’s other masterpiece in the domain of sacred music, the last of his “sins of old age”. This Petite Messe solennelle is indeed “small” in terms of the forces deployed - the instrumental accompaniment is limited to two pianos and a harmonium - but it also well deserves the adjective “solemn” for its ample scale and its formidable dramatic power. In many respects, this work may be seen as its composer’s musical testament. Dazzled, like all his critical colleagues, Filippo Filippi wrote after the first performance in March 1864: “This time, Rossini has surpassed himself, for no-one can tell what is the more impressive, his learning or his inspiration.”

This live recording brings a new and fresh light on Rossini's most famous works after Il Barbiere di Siviglia. The concert took place in Paris - Basilique de Saint-Denis, to celebrate the 150th anniversary of the work, first performed in March 1864, in Paris. The amazing quality of the solo voices (Julia Lezhneva, Delphine Galou, Michael Spyres, Alexander Vinogradov) meets the dynamic and delicate direction of Ottavio Dantone and is supported by the unique atmosphere of accentus chamber choir.

The most comprehensive edition devoted to Gioachino Rossini marking his 150th anniversary. Born in 1792, Rossini was the most popular opera composer of his time. Although he retired from the Opera scene in 1829, he continued to compose in other genres, including sacred music, piano and chamber works. He did gather his late works under the ironic title Péchés de vieillesse (Sins of Old Age), which veils a true collection of masterworks.

This is the third recording to represent Giulio Prandi’s interpretative research on the great Italian choral repertory, after the special and successful releases of works by Jommelli and Pergolesi, cornerstones of the golden age of the Neapolitan school. Faced with the challenge posed by Rossini’s essential masterpiece, Prandi has chosen an original and courageous path, following deep reflection. The new critical edition of the Rossini Foundation of Pesaro is used here for the first time in a recording studio; three rare instruments roughly contemporary with the work – pianos by rard and Pleyel, a D bain harmonium – have been selected to ensure an authentic, vital, luminous sound, guaranteed by the artistry of the keyboardist and professor at the Schola Cantorum Basiliensis Francesco Corti; four illustrious soloists have been engaged: Sandrine Piau, Jos Maria Lo Monaco, Edgardo Rocha and Christian Senn. Finally, the fundamental contribution of the Coro Ghislieri, an acknowledged world-class ensemble in early repertory, sets the seal on a recording of rare merit.

Un Diapason d'or en 2001 puis une discographie comparée ont déjà chanté l'aisance, l'humour et les voluptés des solistes et du chœur de Marcus Creed dans l'ultime chef-d'œuvre de Rossini. Retrouvez ce nouveau CD de la collection Les Indispensables de Diapason avec le numéro de juin de votre magazine.

In Rossini’s Petite Messe solennelle (1863-1867), sacred tones blend seamlessly with allusions to his comic operas. “Is this sacred music which I have written or music of the devil?”, the composer tellingly asked himself in a personal letter. Rossini’s enigmatic but highly enjoyable mass demonstrates his rich musical palette, ranging from “archaic” remnants of Bach, Haydn and Mozart to harmonic audacities that point towards the music of Fauré and even Poulenc. Despite this stylistic range, the Petite Messe solennelle sounds unmistakably Rossinian, and continues to enchant audiences to this day. Initially composed for a small ensemble of singers accompanied by two pianos and a harmonium, the piece is presented here in Rossini’s orchestration.