5.0 out of 5 stars Superb performance of a magnificent sacred masterpiece

S.M. · 5 April 2019

(function() { P.when('cr-A', 'ready').execute(function(A) { if(typeof A.toggleExpanderAriaLabel === 'function') { A.toggleExpanderAriaLabel('review_text_read_more', 'Read more of this review', 'Read less of this review'); } }); })(); .review-text-read-more-expander:focus-visible { outline: 2px solid #2162a1; outline-offset: 2px; border-radius: 5px; } Francesco Cavalli composed his Missa Concertata for Louis XIV, to be performed at Versailles in 1660 to celebrate the Treaty of the Pyrenees which had brought an end to the long wars between France and the Spanish Hapsburg emperors. In response to the occasion Cavalli produced one of his greatest works, a large-scale Mass setting for choir, soloists and instruments.There have been three previous recordings of the work; two of these were from the old days of vinyl LPs, the first of which - directed by Umberto Cattini and issued in the early 1960s on the Musica Sacra label, traditional in style but very fine indeed - was later reissued on CD and it can still be found from some sources. There was also a 1997 CD directed by Peter Holman, a more historically informed version which was very good too and is still available on the Hyperion label. The present performance, by the Galilei Consort directed by Benjamin Chénier, was recorded in 2018 in the fine acoustic of the chapel of Versailles. This is very much a historically informed performance, and a highly successful one.The sumptuous sound of a full baroque band, including two cornetti and four trombones as well as the usual complement of strings, introduces the Kyrie, and in this compact but wide-ranging movement the composer applies the full range of expressive techniques and textures with concertato soloists, ripieno choir and instrumental passages. The successive movements of the Mass are full of fine melodies, whether graceful or uplifting, with ample opportunities for the vocal soloists to shine in solo and concerted writing, and frequent instrumental interludes enhanced here by stylish embellishments from the cornetti and others of the excellent Galilei Consort. Especially lovely moments include the concertato vocal writing of the Christe eleison passage, the energetic fugal section in the second Kyrie, the instrumental contributions to the Gloria's 'Qui tollis' section, the triple-time 'Et resurrexit' delivered with an admirably light touch - and indeed all the concerted vocal passages thoughout the work which, as always in Cavalli's sacred music, are exquisite. The players, choir and above all the eight solo voices in two concertino choirs, all do an outstanding job, and Benjamin Chénier's direction is spirited, tasteful and altogether impossible to fault in my opinion.The Mass movements are interspersed with a handful of other vocal and instrumental works by Cavalli, the finest of which are two motets extracted from the Sacra Corona collection, 'O bone Jesu' and 'Plaudite, Cantate' - the latter closing with a most beautiful 'Alleluja' - and 'Lauda Jerusalem Dominum' from his late Vespers of 1675, which brings the programme to a close with a splendid climax coloured by ringing cornetti. Again, all these works offer fine melodies and beautiful vocal concertato part-writing, are well worth knowing for their own sake, and are performed splendidly here by all concerned.Recorded sound, in the reverberant ambience of the Chapelle de Versailles, is just right. Booklet notes are very good although, oddly, the separate biography of the composer confines itself almost entirely to his operatic works; and texts and translations are included. Altogether, this is an outstanding recording which is sure to please enthusiasts of baroque sacred music, and is certainly the finest recording now available of one of Cavalli's greatest works.

déçu

j.p. · 4 April 2019

(function() { P.when('cr-A', 'ready').execute(function(A) { if(typeof A.toggleExpanderAriaLabel === 'function') { A.toggleExpanderAriaLabel('review_text_read_more', 'Read more of this review', 'Read less of this review'); } }); })(); .review-text-read-more-expander:focus-visible { outline: 2px solid #2162a1; outline-offset: 2px; border-radius: 5px; } Déçu par cette musique religieuse, j'aime tant les opéras de Cavalli.