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Stabat Mater in G Minor / Salve Regina for Alto

David Daniels , Fabio Biondi Audio CD
4.2 out of 5 stars  See all reviews (5 customer reviews)

Price: $14.99 & FREE Shipping on orders over $35. Details
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Amazon Price New from Used from
MP3 Music, 21 Songs, 2006 $8.99  
Audio CD, 2006 $14.99  

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

Song TitleArtist Time Price
listen  1. Stabat Mater: I: Stabat Mater dolorosa environDorothea Röschmann/David Daniels/Europa Galante/Fabio Biondi 3:56$0.99  Buy MP3 
listen  2. Stabat Mater: II: Cujus animam gementemDorothea Röschmann/Europa Galante/Fabio Biondi 2:02$0.99  Buy MP3 
listen  3. Stabat Mater: III: O quam tristis et afflictaDorothea Röschmann/David Daniels/Europa Galante/Fabio Biondi 1:53$0.99  Buy MP3 
listen  4. Stabat Mater: IV: Quae moerabat et dolebatDavid Daniels/Europa Galante/Fabio Biondi 1:56$0.99  Buy MP3 
listen  5. Stabat Mater: V: Quis est homo, qui non fleretDorothea Röschmann/David Daniels/Europa Galante/Fabio Biondi 2:19$0.99  Buy MP3 
listen  6. Stabat Mater: VI: Vidit suum dulcem NatumDorothea Röschmann/Europa Galante/Fabio Biondi 3:20$0.99  Buy MP3 
listen  7. Stabat Mater: VII: Eja Mater, fons amorisDavid Daniels/Europa Galante/Fabio Biondi 2:02$0.99  Buy MP3 
listen  8. Stabat Mater: VIII: Fac Et Ardeat Cor MeumDorothea Röschmann/David Daniels/Europa Galante/Fabio Biondi 1:55$0.99  Buy MP3 
listen  9. Stabat Mater: IX: Sancta Mater istud agasDorothea Röschmann/David Daniels/Europa Galante/Fabio Biondi 4:23$0.99  Buy MP3 
listen10. Stabat Mater: X: Fac ut portem Christi mortemDavid Daniels/Europa Galante/Fabio Biondi 3:28$0.99  Buy MP3 
listen11. Stabat Mater: XI: Inflammatus et accensusDorothea Röschmann/David Daniels/Europa Galante/Fabio Biondi 1:44$0.99  Buy MP3 
listen12. Stabat Mater: XII: Quando corpus morieturDorothea Röschmann/David Daniels/Europa Galante/Fabio Biondi 4:18$0.99  Buy MP3 
listen13. Salve Regina in F minor: I. Salve ReginaDorothea Röschmann/David Daniels/Europa Galante/Fabio Biondi 3:35$0.99  Buy MP3 
listen14. Salve Regina in F minor: II. Ad te clamamusDorothea Röschmann/David Daniels/Europa Galante/Fabio Biondi 4:03$0.99  Buy MP3 
listen15. Salve Regina in F minor: III. Eia ergo, advocata nostraDorothea Röschmann/David Daniels/Europa Galante/Fabio Biondi 1:17$0.99  Buy MP3 
listen16. Salve Regina in F minor: IV. Et JesumDorothea Röschmann/David Daniels/Europa Galante/Fabio Biondi 1:57$0.99  Buy MP3 
listen17. Salve Regina in F minor: V. O clemensDorothea Röschmann/David Daniels/Europa Galante/Fabio Biondi 2:11$0.99  Buy MP3 
listen18. Salve Regina in A minor: I. Salve ReginaDorothea Röschmann/David Daniels/Europa Galante/Fabio Biondi 3:22$0.99  Buy MP3 
listen19. Salve Regina in A minor: II. Ad te clamamusDorothea Röschmann/David Daniels/Europa Galante/Fabio Biondi 2:03$0.99  Buy MP3 
listen20. Salve Regina in A minor: III. Eia ergo, advocata nostraDorothea Röschmann/David Daniels/Europa Galante/Fabio Biondi 2:00$0.99  Buy MP3 
listen21. Salve Regina in A minor: IV. O clemensDorothea Röschmann/David Daniels/Europa Galante/Fabio Biondi 2:57$0.99  Buy MP3 

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Stabat Mater in G Minor / Salve Regina for Alto + Handel: Operatic Arias + Sacred Arias & Cantatas
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Product Details

  • Audio CD (November 14, 2006)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Erato Disques
  • ASIN: B000F3T3BY
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Best Sellers Rank: #232,142 in Music (See Top 100 in Music)

Editorial Reviews

Product Description

The market is loaded with recordings of Pergolesi's beautiful, graceful "Stabat Mater" and there are also plenty of versions of both "Salve Regina" selections to choose from. The young Pergolesi, who died at age 26, had a flair for the theater and the "Stabat Mater" was often accused of being too operatic. Fabio Biondi presents it (and the other two pieces) without much sentimentality and he uses a vastly reduced orchestra--a mere three violins, viola, cello, double bass, and theorbo (and organ)--which brings the stark religiosity to the forefront. That is not to say that these pieces aren't sensual as well; soprano Dorothea Röschmann's mesmerizing, warm tone and David Daniel's flawless, forwardly placed countertenor are lush enough to create drama of their own. And Biondi chooses tempi that are quick enough to give each movement thrust while lingering on Pergolesi's dissonances effectively. The two "Salve Regina" selections are scored for one voice each and each soloist shines brightly. Among the many versions of these works, this new set stands out. --Robert Levine

Customer Reviews

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Most Helpful Customer Reviews
24 of 25 people found the following review helpful
Format:Audio CD
Baroque specialist Fabio Biondi masterfully leads his stellar ensemble Europa Galante on another wondrous recording, this time for another take on Giovanni Battista Pergolesi's "Stabat Mater" (one of many on the market) and two versions of his similarly devout "Salve Regina". There have also been a number of versions of the "Stabat Mater" from a variety of renowned Baroque composers, and in fact, Pergolesi's 1736 work was written specifically to replace an older piece by Alessandro Scarlatti, which had been deemed antiquated by that time. Even though Antonio Vivaldi's 1712 version is probably the most famous of the hymn, Pergolesi engendered controversy at the time by lending a more contemporary feeling to what is truly an inspirational poem that had been part of Catholic liturgy. A sort of James Dean of his generation, the composer broke existing rules by introducing elements of opera boffo, which offended religious purists, and then ensuring his legend by dying at age of 26 of consumption just as he completed the piece.

What elevates this recording to the top of the heap is the world-class vocal talent Biondi recruited, German soprano Dorothea Röschmann and American countertenor David Daniels (with whom Biondi worked on a magnificent 2002 disc of Vivaldi's "Stabat Mater"). Both well versed in the early music genre, they use their extensive interpretative skills on what is essentially a meditation on Mary's suffering during Jesus' crucifixion. Having worked together almost a decade earlier as Drusilla and Nerone in the Bayerische Staatsoper production of Monteverdi's "L'incoronazione di Poppea", Röschmann and Daniels manage to overcome the lyrical complexities and blend lusciously with whatever vocal disparities disappearing almost completely.
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6 of 7 people found the following review helpful
5.0 out of 5 stars Such an amazing performance!! August 26, 2007
Format:Audio CD
A short review to say that I have many recordings of the work, and by far this is my favourite for the steller levels of drama, passion, nuance and musicianship brought to the music by this GREAT baroque orchestra under Biondi, and by the two amazing singers Daniels and Roeschmann...what a team! 5 Stars.
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6 of 8 people found the following review helpful
4.0 out of 5 stars a voice teacher and early music fan March 16, 2009
Format:Audio CD
Giovanni Battista Pergolesi achieved only modest success during his short lifetime, but the twenty years following his death at the age of 26 in 1736, saw a major change in appreciation of his works, and he became the most published composer of the 18th century.

Although this is music of great tenderness and sombre beauty, the works also includes chromatic sequences, sighing passages and dramatic dissonance straight out of the operatic style that made Pergolesi famous.

The 'Stabat Mater' is a setting of the sequence for the 'Feast of the seven Dolours'(sorrows) of the Blessed Virgin Mary, and was written during Pergolesi's last few months. Harmonically, he was ahead of his time; one technique he used was the application of chromaticism to create a bitter-sweet tone of expressive sensibility.

Fabio Biondi and his singers generate a thrilling theatrical change in movements, but at times somewhat overdone, an example being the movements such as 'Fac ut ardeat' and 'Inflammatus et accensus'. If you like an ESSENTIALLY OPERATIC APPROACH, Roschmann, with her MEGA-INTENSE, darkly vibrant tone, sings compellingly throughout (just throw away the concept that this is supposed to be somewhat sacred ). Daniels is always somewhat dramatic in his deliveries, but he sings this work very tastefully with just enough of the 'theater' element; a very intelligent interpreter. As to each of the Salve Regina's; they are both well done, and I much prefer Roschmann's singing on that work.
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2 of 3 people found the following review helpful
Format:MP3 Music
I bought this version unheard, on the strength of the partnership between David Daniels, whose voice moves me like no other countertenor I have heard, and Europa Galante/Biondi. Their Vivaldi: Stabat Mater; Nisi Dominus; Longe Mala, Umbrae, Terrores is a glorious and beautiful piece.

I already had another version Pergolesi: Stabat Mater; Salve Regina, much favoured, but was lured by what seemed like a dream team.

Alas, 'twas not so. This being due to a surrender, on this version, to the potentially flamboyant and theatrical quality of the piece - there is a springiness in its rhythms, weavings of musical lines and vocal gymnastics. Europa Galante go for this hell for leather, whereas the Hogwood reins back from too much bounce, and their restraint imbues the piece with some sort of aching tension which is more appropriate to the subject matter than bouncing on a trampoline, which this version feels like.

However, the major stumbling block to me on this version is the rich and sumptious, almost fleshy, pushy opulent quality of Dorothea Röschmann's vocals

Where is 'the mournful Mother weeping.....Through her heart, His sorrow sharing, all His bitter anguish bearing, now at length the sword has passed.' - Röschmann's voice seemed more suited to Cosi Fan Tutte than to the sombre text of this piece.

Though undoubtedly the match and interweave of the two voices is very beautiful, I found myself wincing when Röschmann let rip on her solo lines, and also wincing at the overstressed rhythms of the musicians.

The dream team had fallen apart for me.
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