Musik / kor

Petite messe solennelle


Beskrivelse


Original version 1863.

Anmeldelser (19)


Klassik heute

d. 14. feb. 2023

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Rainer W. Janka

d. 14. feb. 2023

"Der wunderbare Raumklang umgibt die Sopranistin vor allem in ihrer Arie 'O salutaris hostia' (CD 2, Track 6) wie eine Gloriole. Gerda Hagner bemüht sich erfolgreich um einen eher innigen denn opernhaften Tonfall ... Der viel zu früh gestorbene Tenor Aldo Baldin gefällt mit einer Stimme von ungewöhnlich sinnlichem Glanz und reiner Strahlkraft ... Karl Fäht ist ein echter 'basso cantante' mit balsamischem Timbre ... Der Bachchor Gütersloh ... singt ausserordentlich lebendig, hält locker die Spannung auch in heiklen Passagen, befeuert sich selber immer wieder in den grossen Chorfugen - vor allem wird er unermüdlich, inspiriert vom Dirigenten Hermann Kreutz".


The telegraph

d. 3. maj 2013

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Geoffrey Norris

d. 3. maj 2013

"The acoustics are bright and well-defined. The microphones, and doubtless Pappano as well, ensure that such details as the cellos' insistent accompaniment to the Kyrie is given proper weight and that, for example, the harp comes through in Qui Tollis Peccata Mundi".


RBB Kultur

d. 16. okt. 2021

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Matthias Käther

d. 16. okt. 2021

"Wie auch im Stabat Mater kann Rossini den Opernkomponisten nicht verleugnen - viele der ausgedehnten solistischen Passagen sind von der Opernästhetik beeinflusst. Die Solist:innen bei dieser Aufnahme sind - mit Ausnahme von Sandrine Piau - eher unbekannt, aber allesamt gute Sänger:innen - und mit Edgardo Rocha ist ein herrlich leuchtender Tenor dabei. Solstisch ist diese Neuproduktion eine einzige Freude".


MusicWeb international

2019 July

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Marc Rochester

2019 July

"While, at times, the Orchestre Philharmonique de Luxembourg seems a trifle over-inflated, in the main this is a very successful and largely convincing account of this orchestration which, while not fully luring me away from Rossini's original, manages to keep it convincingly non-operatic if, at the same time, reminding us that it was never really a true piece of ecclesiastical music".


The observer

d. 6. nov. 2021

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Fiona Maddocks

d. 6. nov. 2021

"In a new recording with the agile Coro Ghislieri, conductor Giulio Prandi has used a new critical edition, recorded for the first time. The pianos and harmonium (played by Francesco Corti, Cristiano Gaudio and Daniel Perer) date from the 19th century, colouring the sound, sharpening contours, lightening the textures ... This performance brings out the idiosyncratic variety of Rossini's music, at once operatic, sacred and quirky".


Politiken

d. 7. nov. 2006

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Thomas Michelsen

d. 7. nov. 2006

"King skriver, at han mener, messen er komponeret til en rig salon. Det er den ikke. Derimod som sagt til indvielsen af et kapel. Samtidig pumper han sine spinkle 1800-tals-kammerstyrker op, som var de en invasionshær på flere bataljoner. Resultatet er et frustrerende, ret ildelydende forsøg på at genskabe et historisk øjeblik fra den aldrende Rossinis Paris".


BBC music magazine

2015 August

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George Hall (musikanmelder)

2015 August

"The four soloists form a well-balanced quartet, with tenor Michael Spyres eager and dynamic, Alexander Vinogradov's bass grand and characteristically Russian in quality, and soprano Julia Lezhneva and her contralto colleague Delphine Galou individually prepossessing and jointly spellbinding ... Conductor Ottavio Dantone keeps the pace up and maintains lucid orchestral textures".


Fono Forum

2015 Juni

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Jürgen Kesting

2015 Juni

"Unter den Solisten Dantones ragen die beiden Frauenstimmen heraus. Im "Qui tollis" sorgt die Mischung des klaren, kühlen Klangs der Sopranistin von Julia Lezhneva mit der schimmernden Altstimme von Delphine Galou dafür, dass sich die timbralen Reize der beiden Stimmen verdoppeln".


Fono Forum

2023 Juni

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Martin Hoffmann (musikanmelder)

2023 Juni

"Es ist das Jahr 1976 ... Rossinis "Petite Messe solennelle" in der Abteikirche Marienfeld mit einem sensationallen Cast. Legendäre Stimmen wie Gerda Hagners farbensatter Sopran, Gabriele Schnauts voluminöser Alt, Aldo Baldins lyrisch sahnig weicher Tenor und Karl Fähts abgründiger Bass. Das Fono Forum war damals schon begeistert darüber".


BBC music magazine

2013 June

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Malcolm Hayes

2013 June

"Pappano opts for a strong-limbed, purposeful approach that has the music sounding neither trite nor portentous, pleasingly bringing together its charm and expansiveness ... The four high-quality soloists tread the same fine line with likeable sureness, while blending nicely together".


Fono Forum

2022 März

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Susanne Benda

2022 März

"Diese Aufnahme von Rossinis in unterschielicher Instrumentierung überlieferter Messe rühmt sich damit, erstmals die neue kritische Ausgabe der Fassung für zwei Klaviere und Harmonium zu berückzichtigen. Neben diese Tatsache ist an der Einspielung nichts wirklich Bemerkenswertes: Solisten, die das 'Nachdrücken' zelebrieren, ein Chor mit klaren, gut gebündelten Stimmen, der aber nicht zu differenziertem Gestalten kommt, insgesamt kaum je Witz oder Vertiefung - mehr als okay ist das nicht".


BBC music magazine

2021 Christmas

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Natasha Loges

2021 Christmas

"Alongside their impressive dynamic range, Coro Ghislieri bring Rossini's fugal passages to life ... Most impressive is the approach to recording; there is no bombast, but a close-miked evocation of a private space populated by individual voices. The soloists don't blend seamlessly, furthering the sense of a domestic performance ... It's a fascinating approach, but the dramatic force which drives Rossini's music feels underpowered".


Fono Forum

2014 Juli

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Marcus Stäbler

2014 Juli

"Da sich das Klavierduo Tal & Groethuysen und Max Hanft am Hamonium sehr schön einfügen, darf man die Produktion ruhig alt Referenzaufnahme bezeichnen".


The gramophone

2015 June

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Richard Osborne (f. 1943)

2015 June

"What distinguishes this latest recording is the fineness of the choral contribution. The 34-voice Accentus choir might almost be singing the original, so elegant is their (discreetly recorded) contribution".


The gramophone

2019 September

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Tim Ashley

2019 September

"Gustavo Gimeno and his Luxembourg orchestra give us a sombre, devotional account, carefully avoiding grand gestures or anything that smacks of overt flamboyance ... So it's somewhat regrettable that the soloists are less than ideally matched, particularly when placed beside Riccardo Chailly's more consistently cast Bologna recording ... The recording itself is handsomely engineered and scrupulously balanced. If you care for the work, you will probably want to hear this, for the choral singing above all, though Chailly's performance, with its stronger solo quartet, still leads the field".


The gramophone

2013 June

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Richard Osborne (f. 1943)

2013 June

"Pappano's version is a rather ... subtle affair, a bustling, bullish rendering caught in a somewhat rough and ready live recording ... Given that Pappano is a comparably gifted pianist-director, there's a sense here of an opportunity oddly missed".


International record review

2013 June

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John T. Hughes

2013 June

"Antonio Pappano ... leads an admirable quartet of soloists alongside the Santa Cecilia forces in a performance from which many should take pleasure. The chorus is truly tested ... The orchestra too responds well to Pappano's direction ... I did receive a great amount of pleasure while listening to this Sancta Cecilia undertaking in its clear recording".


International record review

2006 October

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Marc Rochester

2006 October

" ... record companies, which have rather overlooked the original version of the work in favour of Rossini's own fully orchestrated version, possibly put off by the fact that it can seem like watered-down opera with grandiose arias ... This is a performance which perfectly captures the spirit of the work - warts, as they say, and all - and the recording is equally generous to King and his superb team of musicians".


The gramophone

2006 Awards

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Richard Osborne (f. 1943)

2006 Awards

"Robert King does not use star soloists as Rossini did in 1864, but in all other respects these are the right forces ... King's performance is high on self-belief: full-bodied, muscular, impassioned to the point of being fulsome. And there's the rub ... King gives it [Agnus Dei] a terrible mauling, causing his soloist to bellow and blur the tone".