on 1 January 2008
This work is a joy from start to end, but do not expect to experience any serious epiphany of a religious nature along the way. Apart from the opening dolorosa, it's pure operatic vocal display and lots of catchy tunes to boot: it's as if Rossini has done his duty and is now off on another bel canto romp up Calvary way. This performance is good - not outstanding - and the Philharmonia is marshalled efficiently by the great Giulini. However, for a more unbridled approach (which is what this essentially sunny setting needs) go for Kertesz and Pavarotti on Decca. It's all a hoot anyway - but wonderfully melodic and hummable.
on 23 August 2011
You can always trust Giulini - he always delivers recordings under the heading "Perfect". Also this one.
Here he also has an array of the best of the best to make music with.
The Philharmonia is the perfect tool for every intention of Maestro Guiliani, the are able of a full sound also in the ppp parts - both orchestra and choir. The choir shows this especially in Quando corpus where the softest parts are still all perfection and richness in sound.
The soloists are exceptionally well balanced in addtion to be superb individually. In the duetto Quis est homo Ricciarelli and Valentini-Terrani are perfectly coloured together. Raimondo has the warm and profound voice that makes him perfect - just listen to his first phrases in Pro peccatis. Gonzales has shown that he is a very interesting Rossini tenor, he has no problem whatsoever with the high notes in Cujus animam. And his voice is clearer here that in many of his other recordings.
If you want to hear more of these singers together - listen to Il viaggio (Rossini), conducted by Abbado.