Organization

Direzione d'orchestra

Anass Ismat

Pianoforte

Hugo Mathieu

Ramon Theobald

Cantante

Soprano

Kseniia Proshina

Mezzosoprano

Marine Chagnon

Tenore

Kiup Lee

Basso

Aaron Pendleton

Opéra de Dijon

Others

Chœur de l'Opéra de Dijon

Stabat Mater

Digione

Francia

Église Notre-Dame de Dijon

Stabat Mater Rossini

Public

Approvato

Composed for four solo voices (soprano, mezzo-soprano, tenor, bass), mixed choir and symphony orchestra, the work scrupulously follows the unfolding of the Latin text of Stabat Mater , as glorified by Pergolesi in his illustrious score of 1736 The 13th century text, celebrating the sorrow of the Virgin at the feet of the Cross , is filled with grave solemnity, which only makes the aesthetic chosen by Rossini all the more surprising, full of vocal seduction and operatic hedonism. . This very secular, even sensual color immediately attracted the composer a flurry of criticism: how dare he entertain with a religious subject? How to understand, for example, that the Cujus animam gementem, evoking the look of the Mother on her crucified Son, corresponds to a march sung by a dapper Tenor? Weren't we on the verge of blasphemy? Assuming this kind of incongruities and all of his theatrical imagination, Rossini brushed aside objections: the main thing, he claimed, was that the music, whatever its character, was of the highest quality. However, on this point, the least that we can say is that it did not fail in its word: by the sumptuousness of its vocal lines, its choral plasticity and its orchestral shine, the Stabat Mater is full of beauties: in the best a tradition of baroque piety magnified by romanticism, lyrical effusion and majestic gravity orchestrate the unprecedented, literally miraculous fusion of the profane and the sacred.

English

Stabat Mater by Rossini, Da (2022/2022), Direttore d'orchestra Anass Ismat, Église Notre-Dame de Dijon, Digione, Francia

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