Review: BBC PROMS: ROSSINI'S 'STABAT MATER', Royal Albert Hall

There was a distinctly Italian air to the Proms for Rossini's 'Stabat Mater'. Exciting Italian-Turkish conductor Nil Venditti paired Rossini's choral masterpiece with Ottorino Respighi's instrumental "Vetrate di chiesa" or "Church Windows" and all four soloists for Rossini's work were Italian. It made for a captivating evening, full of emotion and musical prowess.

Starting the evening was "Church Windows", which began as piano pieces before Respighi expanded and heavily orchestrated them into a symphonic suite. Amazingly, this performance marked the piece's Proms debut, echoing the themes of Baroque sacred music in Rossini's work.

It is a rousing composition, opening with "The Flight into Egypt". It has a contemplative opening, building to sweeping, almost cinematic sounding strings with the gentle inclusion of textured wind instruments. There was no pause before crashing into "St. Michael the Archangel", a breathless and explosive depiction of a celestial war, culminating in a huge tam-tam crash that symbolises Satan's banishment from heaven.

"The Matins of St. Clare" contrasts hugely; quiet, fragile, and delicate, with gorgeous woodwind elements. "St. Gregory the Great" ends the compostion. A majestic finale built around a Gregorian chant framework, moving into a rousing organ solo, which sounds rather out of place wihin the piece itself.

And then to "Stabat Mater" itself. Italian composer Gioacchino Rossini is best known for his wonderful comic operas, but when his contract with the Paris Opéra was suspended due to the revolution in 1830, he turned his attention to other genres. At first Rossini composed only sections 1 and 5 - 9 from the intended ten sections of his "Stabat Mater", a study of the Virgin Mary's suffering at the foot of the cross. Due to illness, the other sections were composed by Giovanni Tadolini and it was in this form it was played in Madrid in 1832. However, before it could be published Rossini succeeded in getting back the manuscript and re-composed the Tadolini sections. In 1842 it had its premiere in its definite form and last night's Proms saw the third complete performance of the gorgeous work.

The work is based on the sacred poem, "Stabat Mater Dolorosa", which is thought to originate from Franciscan sources in the 13th century. It is a magical fusion of heartfelt solemnity and devotion with theatrical drama and joyous melodies that sound as though they could only come from Rossini.

The opening chorus is hushed, punctuated by dramatic and intense outbursts, showcasing incredibly skilful choral singing from the BBC Symphony Chorus, along with the Epiphoni Consort, making its Proms debut. 

The tenor solo "Cujus animam gementem" followed. Dave Monaco took over from René Barbera at short notice to sing the part; he is undoubtably a talented Rossinian singer, with a light Bel Canto that was just lovely during the a cappella moments, but his projection in the vast space struggled somewhat at other times, in contrast to the other three soloists.

Soprano Federica Lombardi and beguiling mezzo-soprano Chiara Amarù blended their voices beautifully in the sumptuous duet "Quis est homo qui non fleret". The rich bass of Nicola Ulivieri resonated throughout the hall in his aria "Pro peccatis suae gentis", which also displayed subtle control. The composition allows each singer to shine individually and all four soloists worked well together (not always a given) in "Sancta mater, istud agas".

A standout section was "Inflammatus, et accensus", which showcased Lombardi's crystal-clear soprano, along with the intense and highly dramatic resonance of the chorus.

A hugely energetic Nil Venditti conducted the BBC Symphony Orchestra at speed and the rousing "In sempiterna saecula" finale was delivered with such vigour it almost felt over too quickly. Venditti is a talented conductor, quoted in the programme as saying "British Orchestras can do anything you ask of them.", but could perhaps take an extra breath at points. That said, the wonderful BBC Symphony Orchestra rose to the task, with both nuance and imagination, but they will certainly have needed a rest after this highly dynamic performance.

The BBC Proms continues at the Royal Albert Hall until 12 September

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