Although there are several other recordings of this set of “religious madrigals” (as Orlando di Lasso himself called these settings of texts by the Italian poet Luigi Tansillo), this one seems to most satisfyingly capture both the abundantly rich sonorities and the ardent and surprisingly consoling mood of Lasso’s music. Although the text concerns the apostle Peter’s remorse after denying his Lord three times–drawing its cue from the Biblical passage “And Peter went out, and wept bitterly”–it’s presented as a rather complex drama that dwells not on specifics of events but more on the psychological aspects of Peter’s situation, as he realizes the full depth of his betrayal and the reach of his Master’s love.
Among the collection’s 21 stanzas–the first 20 are set in Italian and are taken from Tansillo, the 21st is in Latin from a different source–are some of Lasso’s most exquisitely expressive utterances, and the seven perfectly matched voices of the Capella Ducale Venetia always seem sensitive to both subtle nuance and to the broader textural context. They also let us enjoy Lasso’s occasional word-painting (the cock-crow, radiating light from the “holy eyes”) and other emotional references without resorting to “cheap coloristic exaggerations” (as stated in the notes). Instead, they just sing with full-bodied, well-balanced ensemble and careful sensitivity, complemented by fine recorded sound.
Lasso’s seven-part scoring affords many opportunites for antiphonal effects–and several of the stanzas are reminiscent of more familiar works in this vein by Giovanni Gabrieli–but it also allows for an incredible sumptuousness of harmony and variety of color. And the overall impact is enhanced by this ensemble’s decision to add gambas, a couple of winds (flute and bassoon), and an occasional organ to the mix. While purists may object, the addition of these instruments–very tastefully done–is a great asset, adding immeasurably to the music’s power. If you’ve heard Lasso’s Lagrime di San Pietro before but felt it just too gloomy or too full of “cheap coloristic exaggerations”, try this version. If you haven’t heard it, or are unfamiliar with Lasso’s music, you won’t go wrong by starting here.
