Customer Reviews

Hasse - I Pellegrini al Sepolero di Nostro Signore / R. Elliott, Gabail, Chance, Lesne, Harvey, Il Seminario musicale, Lesne

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Buy this at once! Virgin Veritas releases go out of print unpredictably fast. If you miss this you'll be sorry. This is a short oratorio in two parts. The plot tells a story of four male pilgrims - two sopranos (sung here by women, originally by castrati) and two altos - who go on a pilgrimage to Jesus's tomb in Jerusalem. Once there, they're taken to the tomb by a guide (bass). The guide expresses the spiritual gist of the story, sort of like a evangelist. The first part of the oratorio is full of anticipation and rejoicing as the pilgrims approach the tomb. This part closes with a wonderful five-part ensemble Lauda (no translation necessary). The second part of the oratorio is a mini-passion as the pilgrims relive Jesus's life and death inside the tomb. The guide's aria D'Aspri Legato (which commemorates Jesus's suffering under the whip of a roman soldier) is especially moving. Wonderful melodies abound. Some of the recitatives are accompagnato and thus are much more engaging than regular secco recitatives. The final five-part ensemble expresses the moral of the story: on earth man is a pilgrim, and he can only find peace when he turns his steps and thoughts to god. (I'm not trying to preach to anyone here: I'm just repeating what's in the libretto). The words "when he turns to god" are given not to the entire chorus but to an SSA trio, for emphasis. I'm not a huge fan of Hasse but this oratorio probably has his most magnificent music. The singers are great. Gerard Lesne is excellent as usual (I don't think I've ever been disappointed by Lesne, he's one of the most reliable singers out there). Michael Chance makes a memorable contribution, even though his character is the only one without an aria. Both sopranos are delightful. Peter Harvey as the guide nearly steals the show, even though he only has one aria (the already mentioned D'Aspri Legato). In this aria, Harvey brings the form of da capo aria to its total triumph: the ornaments are textbook perfect. Don't hesitate: buy! gggimpy@yahoo.com

... the 18th C, of course! The Enlightenment, the Age of Reason, when most of the driving social and political thoughts of modern times were first stated - natural rights, liberty, equality, privacy! When the shackles of aristocracy, theocracy, and the divine right of kings were loosened! When scientific secular humanism began to blow away the smoke and stench of superstition and to declare knowledge a boon rather than a sin! When it was first hinted that squalor and misery were not ordained for the mass of humanity but rather might be mitigated by human effort! The Age of the Democratic Revolution, as Palmer called it, the time of the greatest events in European history, the American and French Revolutions, the birth of modern society. The century that saw brute muscle supplanted by machine power, alchemy transformed into chemistry, feudal authority replaced by the rule of law! The century that began the fearsome tasks of ending slavery and serfdom, and of extending human dignity to women! The greatest century of human progress...

...was also the greatest century of musical genius: Scarlatti, Vivaldi, Telemann, Bach and Bach's sons, Rameau, Handel, Gluck, Haydn, Boccherini, Mozart, and... Johann Adolf Hasse (1699-1783), probably the most successful and widely-known composer of his era, writer of 60 operas and scores of other works, an international superstar at home in Naples, Venice, Vienna, Dresden, and Warsaw. The rediscovery of Hasse has been slow and fitful, given the massive competition for audience attention, but it is growing; if one could buy stocks in composers, I'd say that Hasse might be the hottest start-up on the market.

The oratorio recorded here, "Pilgrims at the Sepulcher of Our Lord," was first performed in Dresden in 1742. The libretto was the last work of Stefano Pallavicini, who died a few days after the premier. Pallavicini was as acclaimed in his lifetime as Hasse, and this libretto was instantly declared his masterpiece. The characters are four pilgrims and a hermit guide, who visit the sacred sites of Jerusalem and meditate in recitativos and arias about their spiritual impact. Judging by the number of surviving editions and manuscripts, this oratorio was among the most frequently performed compositions of the century.

Scored for strings, flutes, oboes and bassoons, with five soloists who also act as chorus, this is a show-piece of galant vocal ornamentation and elegant orchestration, a work which openly equates beauty with sprituality. The influence of Alessandro Scarlatti, Hasse's teacher, is still obvious, but Hass transcends his master in structural variety and dramatic timing. The "lauda" at the end of the first act - a simulation of a a joyful procession into the Holy City - is a brilliant innovation in the oratorio format, with a lacy polyphony of the utmost Germanic compositional rigor yet with Mediterranean simplicity and charm.

This performance by Il Seminario Musicale could not be better. The four pilgrims, sung by two women sopranos and two male altos, are rapturously eloquent in their testimonies of musical devotion. The hermit guide, sung by bass Peter Harvey, delivers his sermon-arias with serenity rather than gloom, and with consummate vocal agility for a bass. Director Gerard Lesne himself sings the role of Teotimo, one of the pilgrims; his aria at the end of the second act (Scaccia l'orrore, le tenebre il lume tuo dal cielo) depicts the light streaming from Heaven, inviting "us" to partake of life, and believe me, that's what it sounds like!

I note that this CD is scarce and costly, but it's well worth the money, one of the loveliest performances you will ever hear.

This recording is a real gem, especially since Hasse is so rarely recorded. An excellent performance from all the vocalists, although some may find Gerard Lesne's voice to be an acquired taste. The continuo group realizes their role with great dramatic effectiveness, and Il Seminario Musicale (as usual) sounds superb - Highly recommended.

If there are 2 great XVIII Century composers who deserve to be far better known, they are Johann Adolf Hasse and Niccoló Jommelli, so it is a great joy that Gérard Lesne decided to revive this extremely beautiful oratorio. The recording is exemplary in every way, if you have never heard Gérard Lesne, let me tell you that I think he is the greatest countertenor alive. His voice may not be as ravishing as Andreas Scholl's (but RAVISHING it is), but I think he is the more interesting and imaginative artist. His work with Il Seminario Musicale has been a source of joy for many years and should be better known in America. Do please try this and any other recording with Gérard Lesne, you will be very sorry if you miss these valuable recordings.

THE PILGRIMS AT THE TOMB OF OUR LORD.
It seems very appropriate that I should be writing this review on Good Friday, a most holy day in the Christian Church. And, in fact, I listened to it this evening and was completely memorized by its beauty, both of music and of words. There is no doubt in my mind that this has to be Johann Adolf Hasse's most impressive work. Of all eighteenth-century German composers, Hasse (1699-1783) alone rivals Handel for his skillful fusion of Germanic rigour and Italian melodic brilliance.

In 1731 Hasse was granted the title of Dreseden Court Kapellmeister. On Good Friday in Dresden, the tradition was to perform a 'Sepolcro' or 'Sepulchre Cantata', a musical reflection of Christ's passion and death. These cantatas were operas in all but name, and were performed as such. Rather than ecclesiastical Latin, they were performed in German or Italian.

Hasses's Oratorio 'I Pellegrini al Sepolcro di Nostro Signore' was first performed at the court chapel in Dresden on March 23, 1742. The libretto is by Stefano Pallavicino, a talented writer. His text with its vitality, vivid imagery, strong sentiments and searching questions is the perfect compliment to Hasse's strong and vital musical score.

It is the story of four men(two sopranos originally sung by castrati and two male altos) who go on a pilgrimage to Jesus' tomb in Jerusalem. The first part of the work, in which the pilgrims express their feelings on approaching the Holy City, ends with a 'lauda', a hymn of praise to Jerusalem. The second part, more emotionally charged, finds the pilgrims at the tomb, where they recall Christ's Passion. In addition there is a Guide that shows them the way. Thus there are five singers.

The work is scored for string ensemble with two flutes and two oboes;
two bassoons and continuo. Hasse was himself a singer, and in this masterly work he displays his ability to create vocal melodies full of beauty, warm lyricism, virtuosity and grace. Drawing on his strong theatrical sense, Hasse imparts a powerful dramatic thrust to the work, linking the arias to the accompanied recitatives with supreme musical and poetic sensitivity. The two choruses which are at the end of each of the two acts are definitely high points of the work. The first, and exquisite 'Lauda' or hymn of praise, is sung by the Pilgrims as they arrive in Jerusalem. The second chorus, which concludes the cantata, summarizes the spirited journey undertaken by the pilgrims, who ultimately learn that only by allowing God to guide their footsteps will they be safe!

The performance of this work by Lesne's group Il Seminario Musicale is superb. Lesne has a great ability to put together compositions of this era; I own several of them, and they are all well done. The five singers are skilled in this genre and it is quite obvious that they know how the notes should be sung. It follows that I have some comments about specific performers and one of my comments involves the voice of Gerard Lesne. Another reviewer stated that with him it was an acquired taste; well I have never acquired it. He is skilled and correct in his renditions, but he never moves me. Now I was somewhat frustrated that Michael Chance with his truly marvelous sound had such a small contribution- a 'cameo' so to speak, but none of this detracted from the enjoyment. I daresay many listeners will enjoy Lesne's voice.

My favorite 'spots' were the 'Lauda' (hymn to Jerusalem) that involved all five singers and it was glorious indeed. Also the end of part two which involved the Chorus. My favorite aria was Guida's aria 'D'Aspri legato' (Peter Harvey-bass), describing the cruel treatment of Jesus by His captors. He was magnificent, and this is truly one of Hasse's finest arias! The two sopranos (R. Elliot, V. Gabail) acquitted themselves in grand style in their arias, but the choral singing by these five excellent singers was marvelous and mesmorizing.

There are very good liner notes in French, English and German; libretto is in French, Italian, English and German. Definitely a great listening treat for the Early Music Listener. Hopefully this 1997 recording will be reissued.