Paisiello: Passione di Gesł Cristo

Jose Fardilha (Performer), Giovanni Paisiello (Composer), Diego Fasolis (Conductor), I Barocchisti (Orchestra), I Barrocchisti (Orchestra), Alla Simoni (Performer), Roberta Invernizzi (Performer), Luca Dordolo (Performer) | Format: Audio CD

Product Details

• Performer: Jose Fardilha, Alla Simoni, Roberta Invernizzi, Luca Dordolo
• Orchestra: I Barocchisti, I Barrocchisti
• Conductor: Diego Fasolis
• Composer: Giovanni Paisiello
• Audio CD (May 29, 2007)
• SPARS Code: DDD
• Number of Discs: 2
• Label: Cpo Records
• ASIN: B000OQDRQY
• In-Print Editions: MP3 Download
• Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #77,370 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

2 of 2 people found the following review helpful:

5.0 out of 5 stars Perfection Out of Obscurity, February 17, 2010

By 

M. Figg (USA) - See all my reviews

This review is from: Paisiello: Passione di Gesł Cristo (Audio CD)

Apart from academic/historical footnotes, Paisiello's music is most often heard as a second tier, "pop music" alternative to his contemporary Mozart. His other claim to fame is writing the first operatic setting of "Barber of Seville", which would be eclipsed a generation later by Rossini's innovative, catchy style of musical comedy. "Tuneful, charming, but ultimately superficial and simplistic" is how critics usually describe Paisiello's compositions, and with a few notable exceptions it has been handled by performers who run the gamut from competent to boring to downright unlistenable. Which is why this recording is nothing short of a blessing, featuring the composer's most beautiful, well-structured music played by an outstanding collection of singers, instrumentalists and chorus.

The libretto is by Metastasio, who wrote the most popular (and therefore often repeated) libretti for operas during the late Baroque and early Classical period. The text for this oratorio (basically a non-staged opera using a religious theme) had been previously set by other composers, most notably Caldara years earlier in Vienna. It's the story of Mary, Peter and Joseph of Arimethea mourning the death of Jesus and then rejoicing in his resurrection. Paisiello's setting was written while working for Catherine the Great in St. Petersburg, Russia. Listeners used to Paisiello's more lighthearted, harmonically straightforward (i.e. lots of tonic and dominant) will be immediately surprised by the dark, dissonant opening numbers in this work. I don't speak much Italian, but what few words I do know from listening to opera combined with Paisiello's moving, interesting music made each number's emotional center immediately felt. Another winning point of the piece is the near absence of dry recitative: most of the oratorio is broken up into lyrical accompanied recitatives with full orchestra, emotional, energetic and innovatively scored arias and ensembles, choral numbers and occasional recitative with just organ (and even these are never dull). (If moments in the work sound "Mozartian", it should remind us how even the master's stunning, ingenious music was influenced by trends and stock effects of the time!) The music ranges from melancholy to triumphant, always rhythmically appealing, with animated vocal parts and ear-catching orchestration. In sum, it's an amazing composition that challenges the idea of Paisiello as an empty tunesmith rightfully assigned to the scrapheap of history.

The performance is nothing short of masterful. The four vocal soloists are spectacular, singing passionate, difficult music with assurance and character. Even in this stalwart group, special kudos go to Robert Invernizzi's silvery, confident soprano; I've been enjoying her singing for years and she never disappoints. I Barrochisti under Diego Fasolis's direction are also never a disappointment, with perfectly judged tempos and tasteful inflection, a warm yet reserved sheen in the strings and lush, elegant obbligato/section playing in the winds. The chorus is not featured prominently but when they are, it is solid and the listener can hear the "moving parts" within.

Period instrument enthusiast or not, grab this recording, you won't be disappointed!