PETITE MESSE SOLENNELLE La Scala Milan 2023 Cristina Injeong Hwang, Romina Tomasoni, Michele Mauro, Devis Longo
Information on the Performance
- Work Title: Petite messe solennelle
- Composer: Rossini Gioachino
- Libretto: traditional
- Venue & Opera Company: Teatro alla Scala di Milano, Italy
- Recorded: May 11, 2023
- Type: Concert Live
- Singers: Cristina Injeong Hwang, Romina Tomasoni, Michele Mauro, Devis Longo
- Conductor: Alberto Malazzi
- Orchestra: Salvo Sgrò, HARMONIUM, Giorgio Martano, Marco De Gaspari, PIANO
- Chorus: Coro del Teatro alla Scala
- Stage Director:
- Costume Designer:
Information about the Recording
- Published by: La Scala TV
- Date Published: 2023
- Format: Streaming
- Quality Video: 4 Audio:4
- Subtitles: nosubs
- Video Recording from: La Scala TV FULL VIDEO
ADDITIONAL INFORMATION ON THIS PERFORMANCE
Gioachino Rossini’s Petite messe solennelle (Little solemn mass) was written in 1863, possibly at the request of Count Alexis Pillet-Will for his wife Louise to whom it is dedicated. The composer, who had retired from composing operas more than 30 years before, described it as “the last of my péchés de vieillesse” (sins of old age).
The extended work is a missa solemnis, but Rossini ironically labeled it petite (little). He scored it originally for twelve singers, four of them soloists, two pianos and harmonium. The mass was first performed on 14 March 1864 at the couple’s new home in Paris. Rossini later produced an orchestral version, including an additional movement, a setting of the hymn “O salutaris hostia” as a soprano aria. This version of the mass was not performed during his lifetime because he could not obtain permission to perform it with female singers in a church. It was first performed three months after his death, at the Salle Ventadour in Paris by the company of the Théâtre-Italien on 24 February 1869.
In its original version, the performance of the mass required four soloists (soprano, contralto, tenor and bass), a mixed choir of ideally twelve singers including the soloists, two pianos and harmonium, which sometimes could be replaced by an accordion, according to the first idea of Rossini, but was considered too “popular” for a religious framework at the time of the creation. This low number of performers contrasts with the dimension of ensembles used at that time to interpret the great works of sacred music. This is what has earned this mass the adjective petite.
In 1867 Rossini orchestrated his mass for instrumental forces much larger: three flutes, two oboes, two clarinets, three bassoons, four horns, four trumpets, three trombones, ophicleide, two cornets, timpani, two harps, organ and strings.
Judgements about the two versions diverge. Some musicologists argue that the orchestrated version is preferred today to the original while others explain that the piano gives back its “bite” to the original version, which the composer preferred.