Rossini: Messa di Gloria
Eleonora Buratto (soprano), Teresa Irevolini (mezzo-soprano), Lawrence Brownlee, Michael Spyres (tenor), Carlo Lepore (bass)
Antonio Pappano / Santa Cecilia Orchestra & Chorus (Warner)
柏柏諾幾年前錄過羅西尼《聖母悼歌》及《小莊嚴彌撒曲》後，終於再有一張羅西尼宗教作品錄音，那是寫在1820年、羅西尼歌劇事業如日方中時匆匆交貨的《光榮彌撒曲》。（先前說的兩首都是他退休後的作品。）無論是作品名稱及封面的教堂相片，都和這首作品不相襯，因為這曲真的很歌劇。
威爾第《安魂曲》的歌劇感，準確一點是對天主教來說太過激情。這裏的歌劇則是傾向輕盈，第一軌的前奏曲過後，弦樂的頓奏伴奏，簡直就像羅西尼某齣喜歌劇的伴奏般。但我一點都不介意，甚至因此可以放心推介，尤其是一聽到宗教曲就頭痛的朋友，就當成八首詠嘆調或合唱曲聽就好。也令我想起莫扎特及巴哈，尤其是後者《B小調彌撒曲》那些輕巧詠嘆調。
這裏軌六有英國管獨奏給（第一）男高音伴奏，軌十則是單簧管獨奏配男低音。軌八及九是第二男高音的表演時間，簡直就是羅西尼典型的炫技歌劇詠嘆調。
Unlike the post-retirement Stabat Mater and Petite Messe Solennelle, this Messa di Gloria was written in the heyday of Rossini’s opera career. And Rossini had a deadline to meet, so it’s inevitable that opera bled into this religious work. But the operatic touch is different from that of the Verdi Requiem which is quite melodramatic in the treatment of human despair and sadness. Rossini’s mass does away with the Credo section and the mood is heroic as a whole.
So I won’t hesitate to recommend this album to those who stay away from religious music. Just listen to it like an opera aria album. Those who know their Bach or Mozart will find echos in the spirited arias. Worth special mention are those arias accompanied by a solo woodwind, such as track 6 (first tenor and cor anglais), track 10 (bass and clarinet). The most fabulous aria is spread over tracks 8 and 9, it’s no different than a typical Rossini bravura opera aria. Michael Spyres, the second tenor, will blow your mind.