FULL STABAT MATER (Rossini) Ostrava 2017 Veronika Holbová, Ewa Kalwasiñska, Aleksander Kruczek, Damian Suchozebrski
Information on the Performance
- Work Title: Stabat Mater
- Composer: Rossini Gioacchino
- Libretto: traditional
- Venue & Opera Company: Kostel Panny Marie Královny, Ostrava-Mariánské Hory, Czech Republic
- Recorded: September 26, 2017
- Type: Concert Live
- Singers: Veronika Holbová, Ewa Kalwasiñska, Aleksander Kruczek, Damian Suchozebrski
- Conductor: Paolo Gatto
- Orchestra: Ostrava Youth Orchestra
- Chorus: Czech Philharmonic Choir
- Chorus Master: Petr Fiala
- Stage Director:
- Costume Designer:
Information about the Recording
- Published by: TV NOE
- Date Published: 2017
- Format: Broadcast
- Quality Video: 4 Audio:4
- Subtitles: nosubs
- Video Recording from: YouTube FULL VIDEO
ADDITIONAL INFORMATION ON THIS PERFORMANCE
Stabat Mater is a work by Gioachino Rossini based on the traditional structure of the Stabat Mater sequence for chorus and soloists. It was composed late in his career after retiring from the composition of opera. He began the work in 1831 but did not complete it until 1841.
Stabat Mater is scored for four vocal soloists (soprano, mezzo-soprano, tenor, and bass), mixed chorus, and an orchestra of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings.
Rossini divided the poem’s twenty 3-line verses into ten movements and used various combinations of forces for each movement:
Stabat Mater dolorosa (verse 1) – Chorus and all four soloists
Cujus animam (verses 2–4) – Tenor
Quis est homo (verses 5–6) – Soprano and mezzo-soprano
Pro peccatis (verses 7–8) – Bass
Eja, Mater (verses 9–10) – Bass recitative and chorus
Sancta Mater (verses 11–15) – All four soloists
Fac ut portem (verses 16–17) – Mezzo-soprano
Inflammatus (verses 18–19) – Soprano and chorus
Quando corpus morietur (verse 20) – Chorus and all four soloists
In sempiterna saecula. Amen (not part of the standard text) – Chorus
Written in 1841 for tenor solo, the andantino maestoso section “Cuius animam”, with its rollicking and memorable tune, is often performed apart from the work’s other movements as a demonstration of the singer’s bravura technique.[citation needed] The first theme in “Cujus animam” was also quoted note-for-note in the 1941 Woody Herman jazz number, “Blues on Parade”.
Quoted from Wikipedia