Search - Thomas Hampson, Giacomo Puccini, Antonio Pappano :: Puccini - Messa di Gloria / Alagna, Hampson, Pappano

A GLORIOUS ALBUM

Gail Cooke | TX, USA | 12/22/2001

(5 out of 5 stars)

"With this glorious CD music lovers have an opportunity to revel in non-operatic Puccini works - the Messa di Gloria and two rather esoteric, but nonetheless stunning, orchestral pieces, "Preludio Sinfonico" and "Crisanterri." Among Puccini's earlier pieces, they are prelude to his later compositions. Often described as the London Symphony Orchestra's "secret weapon," conductor Antonio Pappano is a sublime interpreter of Puccini. Soloists for this album could not be more splendid - tenor Robert Alagna, and vaunted baritone Thomas Hampson. Conductor and singing super stars are a dynamic trio who have rendered an incomparable recording, richly textured with dramatic voice."

Early but by no means lesser Puccini

Joy Fleisig | New York, NY United States | 10/17/2001

(5 out of 5 stars)

"Since so many of Giacomo Puccini's most popular operas have had endless recordings released on CD, it is a delight to see the release of some non-operatic works and comparative rarities. Two of the pieces were written while he was a student at the Milan Conservatory, the 'Messa di Gloria' when he was 22 and the 'Preludio Sinfonico' when he was 24. These are by no means inferior works. The beginnings of the 'Puccini style' are already evident here, and although he is borrowing some ideas from other composers, he is also making them his own. If a twenty-something composer with a tenth of the young Puccini's talent came along today, it would be considered absolutely miraculous. It certainly doesn't hurt that the young Puccini has such an ardent and sympathetic champion as Antonio Pappano. As he proved in the recording of 'La Rondine' he conducted, he has the gift of making 'minor' Puccini sound like major Puccini. He is the finest conductor this composer has had in at least 20 years, and is well on his way to genuine greatness. He has a very strong rapport with the London Symphony Orchestra, and is that rare conductor who can keep a tight rein on proceedings without damping expression or individuality. Not only am I eager to hear his upcoming 'Tosca' recording with Angela Gheorghiu and Roberto Alagna, I cannot wait to hear him conduct purely symphonic, non-vocal repertory.It is no surprise that one of Puccini's first compositions was a mass, since he came from a very long line of church composers. The 'Messa di Gloria' is a somewhat grandiose misnomer for this piece - Puccini himself referred to it as the 'Messa di Quatro Voce' ('Mass for Four Voices'). While I admit to being no expert, I think this is one of the 'lightest' settings of the mass I have ever heard. The overall feeling is of tenderness (especially in the 'Kyrie') warmth, and cheerfulness, although there are some moments of high drama in the 'Credo'. I also noticed that the 'Sanctus' is a bit more subdued than in other composers' settings. Obviously, Verdi is a major influence here. At its climax, the 'Gloria' sounds like a lighter, jollier version of the 'Dies irae' from his 'Requiem'. The 'Qui tollis' reminds one of first of the 'Miserere' and then 'Va, pensiero', and the bass choral part with horns that begins 'Et expecto resurrectionem' is identical to the opening chords of 'Rigoletto'. And Puccini later recycled melodies from this work into some of his operas - the 'Kyrie' into 'Edgar' and the 'Agnus Dei' into the 'Madrigal' in 'Manon Lescaut'. I do think that the 'Agnus Dei', and the work as a whole, ends a bit abruptly. Still, I think the 'Messa di Gloria' deserves more performances, and I hope to sing it myself one day.The London Symphony Chorus does a splendid job. Roberto Alagna and Thomas Hampson also do fine work in their solos and the 'Agnus Dei' duet, Alagna's melancholy heroism contrasting with Hampson's sweet elegance. However, I think Alagna's approach is a bit heavy for the cheerier sentiments of this piece, notably 'Gratias agimus tibi', and it might have worked even better with a brighter, more lightweight tone. He is also not entirely comfortable with some of the upward and downward octave leaps, and I suspect a few small things (including some minor mispronunciations) could have been corrected with more recording time. Perhaps I am being overly picky about what is basically a very good performance, but because I have such a high opinion of Alagna, especially under his 'musical brother' Pappano, I expect to be dazzled.Even more valuable than the mass itself are the two 'bookends' which the rival recording on Erato does not include. It does not hurt that Pappano works some major wonders with the LSO string section. The 'Preludio Sinfonico', which is actually the loveliest work on the disc, is a deeply moving piece of nostalgia, and this team brings out all its sweetness and warmth. It reminds me a little of the intermezzo from 'Cavalleria Rusticana' at the beginning, but there are also echoes of the 'Lohengrin' overture, and the liner notes suggest Massenet's 'Esclarmonde', which I am not familiar with. The main melody, however, is definitely Puccini. Only the rather abrupt buildup to and letdown from the climax might possibly signal this as a student work, and Pappano softens the edges of this to the point where it isn't that noticeable. 'Cristantemi' is the most 'mature' selection on the disc, very dark and melancholy. It was written when Puccini was 32 (he claimed in one night), as an elegy for a man he admired. And we have another theme that gets recycled into 'Manon Lescaut', this one for the dying Manon in Act IV. Although this final version is for string orchestra, Pappano gives it the grace and delicacy of the string quartet it originally was.The documentation includes an essay on the works, full texts (although the line 'sub Pontio Pilato' is missing from 'Crucifixus') and translations, all in French and German as well as English, plus photos of Alagna and Hampson. Unfortunately no biographies of any of the artists, and the cover photograph isn't entirely flattering to Pappano, who is actually quite a nice-looking fellow.Unfortunately, I will forever have an association with this music and this CD that I hope no one else will ever have - it is what I was listening to when I found out about the destruction of the World Trade Center. But music has extraordinary healing power, and this CD is playing a major part in my emotional recovery, particularly the sweet, yearning strings of the 'Preludio Sinfonico'. For this, I will always be grateful to Maestro Pappano and his forces, and, of course, to Giacomo Puccini."

Astounding!

D. Seymour | Atlanta, GA USA | 07/20/2002

(5 out of 5 stars)

"What a surprisingly good album! It begins with 8 minutes of contemplative and heartbreakingly beautiful music in the 'Preludio sinfonico'. Even though it was written while he was still a student, Puccini's talent for rendering exquisite turns of phrase is clearly evident. It's climax transports the listener to the same secret and elusive place as that of his best arias. It is a perfect teaser opening for the mass that follows. The 'Kyrie' is somber, serious and powerful - even Beethoven would have been proud. The 'Gloria' is youthful and exuberant. Roberto Alagna's solo "Gratias agimus tibi" although not as supple as you would like, has such an ingratiating melody that you cannot help but be swept up in it. The chorus carries the next section "Qui tollis peccata mundi" away like a grand and glorious Verdi march. The 'Credo' is both solemn and tender. Thomas Hampson is a perfect choice for his feather light 'Benedictus'. My praise goes on and on. This disc is a great glimpse into the early Puccini. A man with with a supreme ability to write for voice(s) and an uncanny ability to capture your imagination aurally."