This beautifully planned recital is many things: a showcase for the ample talents of soprano Carolyn Sampson (who sings a brief duet with herself in Sub tuum praesidium), a fascinating survey of Mozart’s Salzburg sacred music, and a terrifically varied program for continuous listening. In order to appreciate just how intelligently organized the disc’s contents are, you have to see them in their correct playing order:
Regina coeli K.108
Laudate Dominum (from Vespers K.339)
Sub tuum praesidium K.198
Sancta Maria, mater Dei K.273
Exsultate, jubilate K.165
Agnus Dei (from Coronation Mass) K.317
Laudate Dominum (from Vespers K.321)
Regina coeli K.127
The mixture of complete works and extracts is particularly well-calculated. For example, Laudate Dominum from the Vesperae solennes de Confessore K.339 probably is one of the most beautiful moments in all of Mozart’s sacred music, while the moving Agnus Dei from the Coronation Mass is similarly the most emotionally intimate moment in that otherwise grandly ceremonial setting. Neither of the Regina coeli settings are well-known, but they are both lovely. The first, K.108, is a vigorous piece with trumpets and drums in its two outer movements, with the two inner ones (like its companion) given over to soprano solos. They make ideal musical “bookends”.
“But wait!” I hear you cry. The motet Exsultate, jubilate wasn’t written for Salzburg at all. True enough. Mozart composed it in Milan but later revised it for performances in Salzburg, most notably by replacing the oboe parts with a pair of flutes. As this recording of the later version proves, it was a very happy decision.
Soprano Carolyn Sampson sings all of this music as if to the manner born. In that show-stopping central motet, her coloratura isn’t just accurate and her timbre silvery, but she communicates real joy in the opening number and final Alleluia. Best of all is her exquisite performance of Tu virginum corona, perfect of intonation and with wonderfully expressive dynamic shading. She brings the same communicative ability to the Agnus Dei from K.317, and the Laudate Dominum from K.339 especially is a thing of transcendent beauty from first note to last. Robert King and his finely trained singers and players deliver equally exemplary, stylish interpretations, and Hyperion’s engineers capture the whole project in pellucidly warm, clear sonics. This is one of the most enjoyable contributions to the 2006 Mozart year issued thus far. [4/11/2006]
