Composer: Giovanni Battista Pergolesi
Works: La Morte di San Giuseppe
Performers: Michele Farruggia – San Giuseppe, Bernatette Manca di Nissa – Maria Santissima, Maria Angeles Peters – San Michele, Patrizia Pace – Amor Divino, Orchestra Alessandro Scarlatti di Napoli, conducted by Marcello Panni
Recording: Rec: June 1990, Auditorium Domenico Scarlatti, Napoli, Italy
Label: WARNER FONIT 0927 43308-2
Giovanni Battista Pergolesi, a luminary of the early 18th century, is perhaps best known for his sacred works that encapsulate the transition from the Baroque to the Classical style. His oratorio, La Morte di San Giuseppe, composed in 1730, reflects not only the composer’s deep religious sensibilities but also his innovative harmonic language and lyrical expressiveness. This recording, touted as a “critical edition,” presents a curious amalgamation, juxtaposing period instrumentation with vocal performances that appear ill-suited for the work’s stylistic demands.
The orchestral execution by the Orchestra Alessandro Scarlatti di Napoli is commendable, showcasing a clear, vibrant sound that captures the delicate textures typical of Pergolesi’s orchestration. The strings, in particular, exhibit a refined articulation, conveying both the lyrical beauty and the poignant undertones inherent in the score. However, this instrumental proficiency is undermined by the vocal interpretations that struggle to align with the stylistic essence of the piece. Michele Farruggia’s portrayal of San Giuseppe, while possessing a certain dramatic flair, leans towards a Verdian approach that feels anachronistic when juxtaposed with the oratorio’s Baroque underpinnings. His vibrato, though expressive, often overshadows the clarity required for Pergolesi’s melodic lines.
Patrizia Pace’s performance as Amor Divino proves to be more problematic. Her soprano voice, at times shrill and off-key, detracts from the intended reverence of the text. The contrast between her vocal delivery and the orchestral support creates a jarring effect, as if the two were performing in disparate genres. This dissonance becomes particularly pronounced in the duet passages, where the intertwining of vocal lines should evoke a seamless blend of emotions. Instead, the listener is left with a sense of discomfort, as Pace’s struggles with pitch and phrasing become increasingly evident.
The recording quality is noteworthy, with the engineering capturing the intricate details of the orchestral accompaniment. Yet, the overall balance between the orchestra and singers feels mismanaged; the rich sonorities of the strings often overshadow the vocal lines, leading to a frustrating listening experience. In a work where the text and music are inextricably linked, the inability to clearly hear the vocal lines dilutes the emotional impact of the narrative. This is especially critical in passages such as the final aria, where the culmination of themes and emotions should resonate profoundly but instead feels disjointed.
In the landscape of Pergolesi’s discography, this recording fails to find a coherent voice. While the orchestra demonstrates a commendable grasp of the work’s stylistic nuances, the vocal performances lack the requisite historical grounding and technical finesse. Other recordings of La Morte di San Giuseppe, particularly those featuring period-appropriate vocalists, provide a more authentic interpretation that honors Pergolesi’s intentions. The juxtaposition of talented instrumentalists and mismatched vocalists ultimately renders this recording a missed opportunity, one that does not fulfill the promise of Pergolesi’s poignant oratorio.
