250 years ago this piece was all the the rage across Europe. The early death of its composer fed into the popularity, beautiful, dolorus and a late piece by a doomed young composer. It became the most performed religious work for about 80 years, it is again popular. There are lots of excellent versions around. I have more than half a dozen, only one is problematical at all.
I heard it first via Breganza and Freni on LP, lost in the mists of time, I can’t recall much of it. Unavailable on CD I replaced it with an Abbado version with Margaret Marshall and Lucia Valentini Terrani, who has very recently died. Somewhat operatic and Romantic in approach, it is still a favourite for the sheer beauty of the singing. At the opposite end of the spectrum is Alessandrini with Mingardo and Bertagnolli. Instruments are one to a part, hair shirt stuff. It is a version that denudes the piece of its sweetness and exposes a grave meditation, terrific.
In between those is this quite new version:
Julia Lezhneva, Phillipe Jaroussky, I Barocchisti conducted by Diego Fasolis on Erato.
This is as good as any version for me. Lezhneva has a very pure, beautiful voice, great technique and breath control. She is becoming a star at a very young age. Usually this piece is sung by a soprano and an alto, though the vocal ranges within the piece are similar. A decision was taken here to cast two mezzos. Lezhneva is variously described as a soprano or as a mezzo. Here she modifies her sound to shadow that of Jaroussky, to the extent that it is often hard to tell which is singing. It is an interesting approach and once you accept the idea, it draws attention away from the often beautifully contrasting voices, to direct you to the words. This is another disc that achieves that aim of delving into a meditation rather than displaying a religious showpiece.
The pacing is apt, neither slow nor driven, as in Biondi who ruins his version by storming through it. The sound is forward and open. And the piece is exceptionally well served. I have written almost nothing about Jaroussky, he is excellent, his sound well known as are his skills.
The fillers are two rare Pergolesi cantatas, one to each singer, the ‘soprano’ one has a choral part. Beautiful music, but not memorable in the way of Pergolesi’s greatest hit. In the Confitebor you, singing alone, you will hear the fuller tone of Lezhneva.
Here she is singing a short piece of Handel, irresistible. If this does not turn you to jelly, go to see a doctor.
https://youtu.be/YJzB1fHbq9U
Mike
