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Stabat Mater - A Tribute to Pergolesi

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Audio CD, April 26, 2011
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Editorial Reviews

Product Description

About the Artist

Anna Netrebko was born in Krasnodar, Russia, and received her training at the St. Petersburg Conservatory. In 1993 she was first-prize winner of the Glinka Vocal Competition in Moscow and joined the ensemble of the Mariinsky Theatre in St. Petersburg. In 1995 she graduated from the St. Petersburg Conservatory and made her sensaonal US debut as Lyudmila in Glinka's Ruslan and Lyudmila at the San Francisco Opera. Following further triumphant debuts, including Washington Opera in 1999 (as Gilda in Verdi's Rigoletto), the Metropolitan Opera (Natasha in Prokofiev's War and Peace) and the Salzburg Festival (Donna Anna in Mozart's Don Giovanni), both in 2002, she has appeared with nearly all the world's other leading opera houses, performing a wide range of operatic roles such as Mozart's Susanna, Gounod's Juliette, Bellini's Giulietta or Donizetti's Lucia, while still returning frequently to the Mariinsky Theatre to collaborate with her long-time mentor, conductor Valery Gergiev.

Anna Netrebko also appears extensively in concerts and recitals throughout the world. Her outdoor appearances with Plácido Domingo and Rolando Villazón at Berlin's Waldbühne in 2006 and at Vienna's Schönbrunn Palace in 2008 were both televised live and watched by millions worldwide. In 2007 she made her Carnegie Hall debut singing opera arias and duets with baritone Dmitri Hvorostovsky and headlined the "Last Night of the Proms" at London's Royal Albert Hall.

An exclusive Deutsche Grammophon artist since 2002, Anna Netrebko's solo recordings - Opera Arias, Sempre libera, the Russian Album and Souvenirs, an album of orchestral songs and arias - have all been bestsellers, as have her DVD of music videos, Anna Netrebko: The Woman, the Voice, and her audio and DVD releases of La traviata, with her frequent stage partner, tenor Rolando Villazón - with whom she also recorded a highly acclaimed album of opera duets -, and Le nozze di Figaro, both from the Salzburg Festival. Her most recent audio releases include Puccini's La Bohème with Villazón, Bellini's I Capuleti e i Montecchi with mezzo Elīna Garanča, her Salzburg recital of Russian songs In the Still of Night with Daniel Barenboim; on DVD, Bellini's I Puritani from the Met, Massenet's Manon with Villazón, conducted by Barenboim and Donizetti's Lucia di Lammermoor from the Met.

Many prestigious prizes reflect her status as one of today's most celebrated sopranos, including several Echos, a Bambi (Germany), two Classical Brit Awards as "Singer of the Year" and "Female Artist of the Year", an Amadeus Award, a Prix de l'Académie du disque lyrique, a Victoire de la musique classique as well as two Grammy® nominations.

Mezzo-soprano Marianna Pizzolato studied at the Bellini Conservatory in Palermo and made her opera debut in the 2002/03 season singing the title role in Rossini's Tancredi. A noted interpreter of this composer, she made her debut at the Rossini Opera Festival in 2003 in Il viaggio a Reims (Marchesa Melibea), returning in 2004 for Tancredi (title role), in 2006 as Isabella in L'italiana in Algeri, in 2008 for Ermione (Andromaca) and in 2010 for La Cenerentola (title role). Other acclaimed opera appearances include Rosina in Il barbiere di Siviglia in Bologna, Palermo and Zurich; Cenerentola and Mitridate (Farnace) at Welsh National Opera; Linda di Chamounix (Pierotto) at Covent Garden and Lucrezia Borgia (Maffio Orsini) in Liège. She made her debut at the Liceu of Barcelona in La clemenza di Tito (Annio). Marianna Pizzolato has sung on tour in, as well as recorded, Cherubini's Missa solemnis in E major under Riccardo Muti.

The Italian mezzo-soprano also performs Baroque and 18th-century repertoire throughout Europe, having appeared in operas by Vivaldi, Handel and Cavalli with the Ensem­ble Ba-roque de Nice and Gilbert Bezzina, Ensemble Matheus and Jean-Christophe Spinosi at the Ambronay Festival, at the Festival La Coruña under the baton of Alberto Zedda, with Les Arts Florissants and William Christie, and with Il Complesso Barocco and Alan Curtis. Also active as a recitalist, she has a wide repertoire including French song and German lieder.

Currently Music Director of the Royal Opera House, Covent Garden, and the Orchestra of the Accademia Nazionale di Santa Cecilia in Rome, Antonio Pappano was born in London of Italian parents in 1959. At the age of thirteen he moved with his family to the US, where he continued his studies in piano, composition and conducting. Work as a répétiteur and assistant conductor rapidly led to engagements throughout the world. In 1987 he made his opera debut at Den Norske Opera in Oslo and was appointed its Music Director in 1990. Around this time, he also made his conducting debuts at Covent Garden, English National Opera, San Francisco Opera, Lyric Opera of Chicago, the Paris Châtelet and the Berlin Staatsoper. At the age of 32 he was named Music Director of the Théâtre royal de la Monnaie in Brussels and remained in this post for ten years. In 1993, he made an acclaimed Vienna State Opera debut with Siegfried. He made his Metropolitan Opera debut in New York in 1997 with Eugene Onegin and in 1999 at the Bayreuth Festival conducting Lohengrin.

Antonio Pappano has also conducted the Chicago Symphony, Philadelphia Orchestra, Cleveland Orchestra, Boston Symphony, New York Philharmonic, London Symphony, Philharmonia, Vienna Philharmonic, Munich Philharmonic, Berliner Philharmoniker and Royal Concertgebouw orchestras. From 1997 to 1999 he was principal guest conductor of the Israel Philharmonic Orchestra. His extensive discography includes award-winning recordings of Puccini's Madama Butterfly and the Verdi Requiem, both featuring the Santa Cecilia orchestra and chorus, as well as Wagner's Tristan und Isolde, Massenet's Manon and Puccini's La rondine. His orchestral recordings with the Santa Cecilia include Tchaikovsky's Symphonies 4-6 and Respighi's Roman Triptych. For Deutsche Grammophon, he has previously conducted the world-premiere recording of Philippe Boesmans' opera Wintermärchen (The Winter's Tale).

Antonio Pappano received Gramophone's "Artist of the Year" 2000 Award, the 2003 Olivier Award for Outstanding Achievement in Opera and the Royal Philharmonic Society's 2004 Music Award. In December 2008 he was made a Commendatore of the Republic of Italy.

The Orchestra of the Accademia Nazionale di Santa Cecilia of Rome was the first in Italy to devote itself exclusively to the symphonic repertoire, promoting the premieres of 20th-century masterworks including Fontane and Pini di Roma by Respighi. The first home of the orchestra was the Augusteo, the legendary concert hall built on the ruins of the Emperor Augustus Mausoleum. The orchestra's home today is the new Auditorium Parco della Musica designed by Renzo Piano. The orchestra, which was established in 1908, has performed more than 15,000 concerts, collaborating with the most famous musical figures of the century such as Mahler, Strauss, Stravinsky, Toscanini, Mengelberg, Furtwängler, De Sabata and Karajan. After Bernardino Molinari, the orchestra's Music Directors have been Franco Ferrara, Fernando Previtali, Igor Markevitch, Thomas Schippers, Giuseppe Sinopoli and Daniele Gatti. Leonard Bernstein was its Honorary Chairman from 1983. During the same years Carlo Maria Giulini collaborated regularly with the orchestra: both Bernstein and Giulini made important recordings with the Santa Cecilia orchestra for Deutsche Grammophon. With Myung-Whun Chung, Music Director from 1997 to 2004, the orchestra continued its fruitful collaboration with the Yellow Label and toured more extensively in Europe and the Far East.

Since 2005 the Music Director of the Santa Cecilia orchestra has been Antonio Pappano. Thanks to him, the reputation of the Roman orchestra has undergone a remarkable upsurge, leading to decisive international recognition. Together with Antonio Pappano, the orchestra has visited the most important international music festivals and concert halls in Europe and Japan such as the BBC Proms in London, Lucerne Festival, Baden-Baden Festival, Salzburg Festival, Vienna's Musikverein, Berlin's Philharmonie and Tokyo's Suntory Hall.


Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
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Product Details

  • Orchestra: Orchestra dell’Accademia Nazionale di Sa
  • Conductor: Antonio Pappano
  • Composer: Giovanni Battista Pergolesi
  • Audio CD (April 26, 2011)
  • Number of Discs: 1
  • Label: Deutsche Grammophon
  • ASIN: B0049YB78C
  • Average Customer Review: 4.1 out of 5 stars  See all reviews (14 customer reviews)
  • Amazon Best Sellers Rank: #176,837 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

7 of 7 people found the following review helpful By Grady Harp HALL OF FAMETOP 100 REVIEWERVINE VOICE on September 5, 2011
Format: Audio CD
There are gratefully adventuresome artists who are not satisfied to rest on their well-earned laurels, but instead take every opportunity to introduce lesser known works in their recorded repertoire. Such is the case for Anna Netrebko who here joins Antonio Pappano and the Orchestra dell'Accademia Nazionale di Santa Cecilia and brings to our attention a gifted young Italian mezzo-soprano Marianna Pizzolato in a program of works by Pergolesi. Too often this fine composer is passed over in favor of his contemporaries Scarlatti, Lully, Rameau et al. He is probably best remembered for his comic opera 'La Serva Padrona', but fine as that work, the works shared here are in this listener's opinion are far more interesting.

Anna Netrebko opens the recording with Pergolesi's 'Orfeo ('Nel chiuso centro'), chamber cantata for soprano, strings and continuo. She delivers the four arias with complete ease of vocal production and a wonderfully honey-toned sound. Pappano then conducts the orchestra in the Sinfonia for the opera 'Li prodigi della divina Grazia' - rich with Pergolesi's signature tunefulness. Pizzolato then has a solo turn in the 'Questo è il piano, questo è il rio' (Cantata for alto and strings) and proves that she indeed is a formidable force for the mezzo roles. This is a rich, dark, big voice that should last a long time, so intelligent is her use of her gift.

The focal point of the recording is of course Pergolesi's most famous religious work, the Stabat Mater written in 1736 for male soprano, male alto, string orchestra and basso continuo. Here of course the work is presented by Netrebko and Pizzolato instead of countertenors.
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8 of 10 people found the following review helpful By Galuppi lover on September 14, 2011
Format: Audio CD
This is among the best. Great interpretation of cantatas and Stabat Mater by both Netrebko an Pizzolato and beautiful direction by Pappano. Great orchestra!
Must be listened to many times!
I love Pergolesi more than anything!
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4 of 5 people found the following review helpful By Ronald Haak on November 24, 2014
Format: Audio CD
This performance is for cosmopolitan audiences used to suave concerts. The singers and conductor seem completely unaware this is Mary holding the corpse of her judicially murdered son and is collapsing from unconsolable grief. Instead they've decided to look the other way and give us a pleasureable display of vocal takeovers in the "star" mode. Netrebko falls naturally into this "star" mode to which she's become accustomed. She seems unaware that in the Stabat Maters of this period, the most moving soloists in most performances have names almost nobody knows. Being a "star" is not the aim in Pergolesi. Ministering to the Lord's passion by humble consecration is the aim, with self-effacement going hand in hand with an anonymity the singers willingly embrace --- the opposite of the priorities for 19C opera heroines.

After a promising beginning in track 1, the next track and in all that follows launches a major shift to gratify the audience's hunt for beauty. All religious fervor is lost. Confidence + opulent voices present us with soaring treatment of the notes, but it's all untrue to Pergolesi.

Pappano shares this slide into the "comfortable". He joins the others in walking away from Pergolesi and the real content of this music.
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2 of 2 people found the following review helpful By SD on March 22, 2013
Format: Audio CD Verified Purchase
Wow, this is a great CD if you love Baroque music! Stabat Mater was originally intended for male soprano and male alto and I think that if you liked Sacrificium by Cecilia Bartolli and appreciate how difficult it is for a soprano to sing this music, you will love this album. I highly recommend this CD and there are several orchestral tracks that are also quite lovely.
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5 of 7 people found the following review helpful By Bjorn Viberg on November 20, 2011
Format: Audio CD
Stabat Mater - A Tribute to Pergolesi is a 2011 Deutsche Grammophon recording starring soprano Anna Netrebko and contralto Marianna Pizzolato. Antonio Pappano leads the orchestra dell'accademia nazionale di santa cecilia-roma. Warwick Thompson has written the music notes. The sound quality is truly astounding. The performance of the singers is brilliant. A worthy tribute to Pergolesi. Highly recommended indeed. 5/5.
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Anna Netrebko has got the best voice of all recordings of Pergolesi's Stabat Mater.
But there is quite a difference to the recording of Sabina Puertola (only on YouTube).

Sabina and her colleague Vivica Genaux give their soul and heart to the Stabat mater, and Mrs Netrebko

does not show this inmost feeling of the Divine Mother in her dispair having lost her GREAT SON JESUS.
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1 of 1 people found the following review helpful By Jill Maria Murdy on January 16, 2013
Format: Audio CD Verified Purchase
no matter who is performing it. I fell in love with it 40 years ago. But this recording is probably the best I've ever heard. With religious music there is a fine line between prayer and performance. I'd say this one is so exquisite musically, but leads you right into the prayer side of it. Gorgeous.
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