PRODUCT DESCRIPTION
Originally written for private devotions, Stabat Mater probably originated in the 13th century and became part of the Catholic liturgy, either as a sequence for the text or as a hymn for the vespers on the Feast of the Seven Sorrows of Mary. The pictorial, highly emotional language of the Stabat Mater has inspired composers to perform at all times. From Josquin Desprez in the 15th century to Krzysztof Penderecki in the 20th century, the range of masterpieces extends over this text. In the 18th century, together with Antonio Vivaldi and Giovanni Battista Pergolesi, two Italian composers created songings, which are now among the most famous and most popular. Despite some similarities regarding key and instrumentation, the history of the two works could not be more different. If Pergolesi's scoring has an almost uninterrupted history of performance and reception, Vivaldi's Stabat Mater RV 621 was one of the works that began the composer's widespread rediscovery after centuries of oblivion at the first week of music in Siena in 1939. The recording of CHATEAU DE VERSAILLES is something of a revival of the first performance of Pergolesi's Stabat Mater in France ahead of Louis XV by two Italian castrates and features an exquisite top cast: the solo parts are played here by Venezuelan soprano Samuel Mariño and the Italian countertenor Filippo Mineccia. What is special about Mariño is that the Venezuelan does not sing with the usual head voice, but with his original boyhood voice, albeit with the strength, lung volume and intonation safety of an adult man, as was the case with castrates before. The singer can also be heard in the highly virtuoso solo motet for soprano, strings and B.c. In furore iustissimä irae RV 626. A truly royal delight!

REVIEW
Pergolesi’s Stabat Mater provides the perfect showcase for two remarkable voices. The rich-toned countertenor of the Italian Filippo Mineccia, who also sings Vivaldi’s pithier setting, is remarkable enough, but there’s also the Venezuelan Samuel Mariño’s expressive male soprano, an instrument of rare beauty applied with sensitivity and virtuosity. The Orchestre de l’Opéra Royal plays with aplomb. Stephen Pettitt. --The Sunday Times