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ROSSINI: Petite Messe Solennelle.(Review)

Opera News

| August 01, 2001 | ROSENBERG, M. LIGNANA | COPYRIGHT 2001 Metropolitan Opera Guild, Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

ROSSINI: Petite Messe Solennelle

[] Stoyanova, Remmert; Davislim, Muller-Brachmann; RIAS Kammerchor, Creed. Text and translations. Harmonia Mundi HMC 901724

"Have I written musique sacree (sacred music) or sacree musique (damned music)?" So asked Rossini in the postscript to his Petite Messe Solennelle, which had its premiere in 1864, four years before the composer's death. It is a question listeners and interpreters continue to ask themselves, swayed on the one hand by the jaunty opening of the Domine Deus (favored by the notoriously impious band of operatic tenors), and on the other by such sections as the darkly fervent Qui Tollis and the spare, soaring Crucifixus. And what is one to make of Rossini's cryptic tempo marking for the Credo, "allegro cristiano"?

Philip Gossett, today's most illustrious Rossini scholar, stresses the sacred rather than the profane, arguing that the Petite Messe finds the composer "[singing] the praises of God con amore." A similar conviction seems to inspire this earnest new performance led by Marcus Creed. Everything about it is soft-grained and discreet: the recorded sound, the period instruments (harmonium and Pleyel pianos) of the accompaniment, and most of all the velvety sounds of the RIAS Kammerchor, whose pinpoint-accurate ...

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