Most interpretations I'm not even the 1st set. On the one hand I know interpretations where egomaniacal soloists destroy the wonderful dissonance between the voices, by cruel tremolos and so you take your beauty and suggestive power. It should be but now have really gotten around to last singer that you etc. so no longer disfigured Pergolesi, Bach. Examples: the great ensemble Les Talens Lyriques under Christophe Rousset, with the brilliant Andreas Scholl and Barbara Bonney, who would have remained rather at romantsichen song. I find that particularly annoying if a successful per se thing is destroyed by one person. Mr. Rousset selects the soloists but even, I think. Incomprehensible !!! Rousset there to see / hear of it but it is unfortunately is no CD recording on Youtube also a perfect recording with u. A. Vivica Genaux. The recording of the Stabat Mater at the Anna Netrebko is involved, I would not even worthy of a mention actually. It requires even today no one that one makes music -prozentiger just under 1000% application of historsichen performance practice. Since there is finally within this Szenze alone again enough different interpretations and that's a good thing. But that subjecting Pergolesi regardless of any knowledge of such musikwissentschaftliche opernhaftigen rape is not understandable for me.
And secondly, there is the historically informed, sangestechnisch great shots (smooth strokes, tremolos and vibrato as an ornament and stylistic devices and not as a permanent condition, soloists with each other and not against each other to sing), but the in the "early music scene" unfortunately often encountered "higher, faster, further" respect. of succumbing tempos and articulation and so do not really meet the affect of tragedy and from the dark up rising above all of the 1st movement of my modest opinion. Examples: The phenomenal Ricercar Consort Pierlot with the soloists Nuria Rial and Carlos Mena. From some tempos really apart a class interpretation and recording. Or the Academy of Ancient Music under Hogwood with soloists Kirkby and Bowman. As (almost) all of the island technically quasi perfect, but usually too fast, too sterile, bloodless. Music is in fact not only perfect practice of learned techniques. It must have been even human touch. To paraphrase the words of Nikolaus Harnoncourt: Something like you can maybe do in England, but not in a real country music !.
This criticism of the other recordings to illustrate precisely what makes this interpretation correct. Namely almost everything! I really can not listen to all that made me even more disturbed with the other good recording. Bravissimo !!! The soloists with each other and not against each other, the dissonances and affects mercilessly savoring. Tremolos and vibrati where you belong, and only there. The tempos in the right places withdrawn. If one really wants to express criticism on actually already outrageously high Nivau, then at the very most, that I personally would like to have a little contrast between high and low voice so as not to have the impression of complete interchangeability of roles. Someone else may just just like this quasi timbres same fusion of soloists. Personally, I can already hear like a more pronounced difference between the vocal registers. Julia Lezhneva has wonderful, but relatively dark soprano, Jaroussky a rather bright Altus. In my very own dream world, I would set aside the Lord Jaroussky a Dorothee Mields or Hana Blažíková. But as I said: the really really bothers no second gripe is felt at the highest level and highly subjective, since I am almost certain that the very harmonious with this tone was intentional.
Incidentally it should be noted that the Friends of the quality music playback in your own home can be pleased about an even tonmeisterlich really good shot here.
