Listen to "Nel chiuso centro" |
ABOUT THE RECORDING
Listen to "Stabat Mater" |
development of the whole genre, and a Stabat Mater which became one of the most frequently printed pieces of sacred music of the 18th century. The latter, a cantata for two voices and a small chamber orchestra, was known and admired by Mozart and has remained popular – with both specialists and non-specialists in Baroque repertoire – into our own times. Fortunately she found a team of colleagues who were up for the ride, too. The management of the Festspielhaus had long been keen to host maestro Antonio Pappano and his Santa Cecilia orchestra from Rome. On this occasion the scheduling fairy waved her wand, and the opportunity finally arose. The conductor was delighted to work with Anna Netrebko again (he had recently finished a run of
Manon with her at Covent Garden) and agreed to her Pergolesi idea with enthusiasm. Although the Santa Cecilia orchestra is not a period-instrument ensemble, they often collaborate with Baroque conductors such as Ton Koopman and have a thorough understanding of period style. For his own first fully Baroque programme with the orchestra, Antonio Pappano decided to use a small number of players and employed the Baroque specialist concertmaster Alessandro Moccia to lead the ensemble. It was Antonio Pappano, too, who suggested the young, rising-star Italian mezzo Marianna Pizzolato for the lower voice part in the Stabat Mater. He wanted a singer whose sound would not only be a good blend with Anna Netrebko’s, but who would be able to form a real emotional and musical partnership with the soprano – a 'sisterhood,' as he came to call it. As the concerts subsequently proved, his choice could hardly have been better." [Source]
Standard jewel case release in Japan |
Cover art for release in Germany |
Special cover art for France release |
Deluxe "Prestige Edition" made in E.U. |
The deluxe "Prestige Edition" features a bonus DVD |