Name: Stabat Mater
Start: 2023-01-25T00:00:00.000Z
End: 2023-01-25T00:00:00.000Z
Location: Salle Garnier

Organization

Conductor

Gianluca Capuano

Chorus master

Stefano Visconti

Singer

Soprano

Maria Agresta

Mezzo-soprano

Varduhi Abrahamyan

Tenor

Celso Albelo

Bass

Ildebrando D'Arcangelo

Opéra de Monte-Carlo

Others

Choeur de l'Opéra de Monte-Carlo

Orchestra

Orchestre Philharmonique de Monte-Carlo

Stabat Mater

Monaco

Salle Garnier

Stabat Mater Rossini

Public

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Choir

Choreographer

Chorus Director

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Contralto

Bass-baritone

Baritone

Countertenor

Alto

Child vocalist

Continuo

Silent

Spoken

Quel ténor possédant un solide contre-ré bémol pourrait résister au plaisir de chanter un jour le «Cujus animam» du Stabat Mater de Gioachino Rossini? Et si le numéro 8 de cette œuvre liturgique, «Inflammatus et accensus», a été chanté par des monstres sacrés tels que Kirsten Flagstad et Birgit Nilsson, on comprend vite que Rossini, même s’il avait quitté la scène lyrique depuis plus de dix ans, ne pouvait s’empêcher de composer de véritables pépites vocales qui auraient aussi bien pu trouver leur place dans un drame lyrique en cinq actes! Dès sa première exécution salle Ventadour à Paris, en 1842, le Stabat Mater de Rossini déclencha l’enthousiasme des foules. Si Richard Wagner et certains critiques germaniques trouvèrent décidément la musique de Rossini trop profane pour un tel sujet, le reste de l’Europe ne bouda pas son plaisir et acclama l’œuvre jusqu’à nos jours. Le Stabat Mater est aussi une occasion rêvée pour un chœur de montrer les multiples facettes de son talent. Placé sous la direction de Stefano Visconti, le Chœur de l’Opéra pourra démontrer qu’il ne brille pas seulement dans les ouvrages lyriques mais sait aussi faire preuve de la ductilité nécessaire au répertoire sacré et aux œuvres de concert.

français

What tenor with a secure high D flat could resist singing the “Cujus animam” from Gioachino Rossini’s Stabat Mater at some point in his career? And the fact that the aria No. 8 of this liturgical work, “Inflammatus et accensus”, was sung by such sacred monsters as Kirsten Flagstad and Birgit Nilsson, makes one quickly understand that Rossini, although he had stopped writing operas more than 10 years before conceiving this work, could not help composing true vocal jewels that might just as easily have found their place in a splendid five-act opera!

From its first performance at the Salle Ventadour in Paris in 1842, Rossini’s Stabat Mater aroused the enthusiasm of the crowds. Although Richard Wagner and some German critics found his music too secular for a sacred subject, the rest of Europe did not hold back its delight and has loved the work to this day.

The Stabat Mater is also a perfect opportunity for a choir to show the many facets of its talent. Under the direction of Stefano Visconti, the Monte Carlo Opera Choir will prove that it not only shines when on stage, but that it also possesses the suppleness which the sacred and concert repertoire require.

English

Stabat Mater by Rossini, Nuo (2023/2023), Dirigentas Gianluca Capuano, Salle Garnier, Monaco, Monaco

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