FULL STABAT MATER (Rossini) Milan 2015 Daniela Bruera, Francesco Marsiglia, Laura Verrecchia, Carlo Malinverno
Information on the Performance
- Work Title: Stabat Mater
- Composer: Rossini Gioachino
- Libretto: traditional Latin text
- Venue & Opera Company: Chiesa di San Marco, Milano, Italy
- Recorded: December 3, 2015
- Type: Concert Live
- Singers: Daniela Bruera, Francesco Marsiglia, Laura Verrecchia, Carlo Malinverno
- Conductor: ALDO BERNARDI
- Orchestra: ORCHESTRA DELL’ ASSOCIAZIONE MOZART ITALIA DI MILANO
- Chorus: CORO “CANTICUM NOVUM” DI BERGAMO
- Chorus Master: ERINA GAMBARINI
- Stage Director:
- Costume Designer:
Information about the Recording
- Published by: Aldo Bernardi
- Date Published: 2016
- Format: Streaming
- Quality Video: 3 Audio:3
- 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.
Composition
In 1831 Rossini was traveling in Spain in the company of his friend the Spanish banker, Alexandre Aguado, owner of Château Margaux. In the course of the trip, Fernández Varela, a state councillor, commissioned a setting of the traditional liturgical text, the Stabat Mater. Rossini managed to complete part of the setting of the sequence in 1832, but ill health made it impossible for him to complete the commission. Having written only half the score (nos. 1 and 5–9), he asked his friend Giovanni Tadolini to compose six additional movements. Rossini presented the completed work to Varela as his own. It was premiered on Holy Saturday of 1833 in the Chapel of San Felipe el Real in Madrid, but this version was never again performed.
When Varela died, his heirs sold the work for 2,000 francs to a Parisian music publisher, Antoine Aulagnier, who printed it. Rossini protested, claiming that he had reserved publication rights for himself, and disowned Aulagnier’s version, since it included the music by Tadolini. Although surprised by this, Aulangier went ahead and arranged for a public performance at the Salle Herz on October 31, 1841, at which only the six pieces by Rossini were performed. In fact, Rossini had already sold the publication rights for 6,000 francs to another Paris publisher, Eugène Troupenas. Lawsuits ensued, and Troupenas emerged the victor. Rossini finished the work, replacing the music by Tadolini, before the end of 1841. The brothers Léon and Marie Escudier, who had purchased the performing rights of Rossini’s final version of the score from Troupenas for 8,000 francs, sold them to the director of the Théâtre-Italien for 20,000 francs, who began making preparations for its first performance.
Rossini’s extensive operatic career had divided the public into admirers and critics. The announcement of the premiere of Rossini’s Stabat Mater provided an occasion for a wide-ranging attack by Richard Wagner, who was in Paris at the time, not only on Rossini but more generally on the current European fashion for religious music and the money to be made from it. A week before the scheduled concert Robert Schumann’s Neue Zeitschrift für Musik carried the pseudonymous essay, penned by Wagner under the name of “H. Valentino”, in which he claimed to find Rossini’s popularity incomprehensible: “It is extraordinary! So long as this man lives, he’ll always be the mode.” Wagner concluded his polemic with the following observation: “That dreadful word: Copyright—growls through the scarce laid breezes. Action! Action! Once more, Action! And money is fetched out, to pay the best of lawyers, to get documents produced, to enter caveats.—O ye foolish people, have ye lost your hiking for your gold? I know somebody who for five francs will make you five waltzes, each of them better than that misery of the wealthy master’s!” At the time when Wagner wrote this, he was still in his late twenties and he had not yet had much success with the acceptance of his own music in the French capital.
Quoted from Wikipedia