Reviewed by Steven Whitehead

Gioachino Rossini (1792-1868) is one of the great composers of opera. Indeed, if the genre is unfamiliar to you, one of the very best places to start is his version of the Cinderella story, 'La Cerenentola.' This recording of the 'Messa di Gloria,' the only liturgical work that Rossini wrote before his retirement in 1829, three years before he turned forty, is part of a series under the direction of Antonio Pappano, Music Director of Rome's Chorus and Orchestra dell'Accademia Nazionale di Santa Cecilia. More rarely heard than the monumental 'Stabat Mater' and the idiosyncratic 'Petite Messe Solenelle', the nine-movement 'Messa di Gloria' requires five virtuoso vocal soloists. Here, three Italians - soprano Eleonora Buratto, mezzo-soprano Teresa Iervolino and bass Carlo Lepore - are joined by two Americans, Lawrence Brownlee and Michael Spyres. The latter describes the 'Messa di Gloria' as "some of the most difficult vocal writing Rossini ever penned. He really wanted to glorify the Church and the Word, showing the entire range of every single voice as he did so. It is truly bel canto at its height." The need for five soloists and full orchestra means that the piece is beyond the capabilities of all but the very best choral societies and while it works as a quasi-operatic experience, being a joyful celebration of vocal excellence, it is almost impossible to imagine this within the context of worship. While we can make a case for anything that is done for the glory of God can become glorious in and of itself, we can see how the Rossinian ebullience that pervades what is intended to be a sacred composition caused a certain amount of unease for its first audiences. As a listener I thoroughly enjoyed hearing the 'Messa di Gloria' and can applaud all the vocal contributors, whether soloists or part of the choir. As a choral singer I do not ever expect to have the opportunity of performing this masterpiece but as someone who enjoys opera this performance was a very satisfying way of spending an hour.

The opinions expressed in this article are not necessarily those held by Cross Rhythms. Any expressed views were accurate at the time of publishing but may or may not reflect the views of the individuals concerned at a later date.

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