The slight story involves the usualBaroque plot device of mistaken identity;in this case, VA'O brothers, having been kid-napped separately years ago, are unawareof their relationship, and, as a furthercomplication, one has tiîken on the nameof the other. A faked drowning, a lecher-ous pirate and a captive father with twodaughters are thrown into the mix. Natu-ndly, the two brothers end up with the twosisters (one being the Hiithful nymph ofthe opera's title), but before they can sailhome, the goddess Juno must calm Aeo-lus, the god of winds, turning the final tenminutes of the work into a formal codafeaturing these new characters, well sunghere by contralto Sara Mingando and bass-baritone Ghristian Senn.

Most of the arias are ihe usual da capoaffairs, with Vivaldi's characteristic vigor-ous string writing and demanding vocal-ism. The opening aria is striking for its useof trumpet and drums along with the bassvoice, while two flutes lend a cheerful toneto "Gento donzelle." A few strophic orthrough-co m posed arias indicate Vivaldi'sawareness of the public's interest in thesimpler, galant style. An energetic, imita-tive trio ends Act I, while a mote conven-tional quartet brings Act 11 to a close; thereare also two duets, although one merelyfeatures two characters alternating verses.

Everyone gets at least one stupefyingvocal moment, with cascades of sixteenthnotes indicating a character's oppression,anger or joy, and Spinosi's cast providesample excitement for the listener. In thetitle role, soprano Sandrine Piau uses her.soft-focus voice to great effect, especially inthe angry, staccato repeated notes of "Almaoppressa" and the quiet, joyous "11 miocore a chi la diede," in which garlands oftriplets swirl over a gently throbbingaccompaniment. As the nicer of the twobrothers, soprano Veronica Gangemi doesher share of spectacular singing, especiallyin the agitated "Destino avaro" and theamazingly fast and clean arpegios of "Trainospite tupi ," as well as the simple,poignant "Dite, oimè," with its spate luteaccompaniment imparting a spacious still-ness that is captivating.

Gontralto Marie-Nicole Lemieux makesthe most of everything she sings, even thetiny aria "Egii è vano," with its angry,accusatory tone, and she uses the strangehalting figiires of "Aure lieve, che spirate"to indicate the character's insecurity andworry. Lemieux's recitative singing is espe-

cially fine, and her vocal fireworks come inthe lively "Gerva che al monte, ' with textand music depicting a deer running cheer-fully in the mountains.

Gountertenor Philippe Jaroussky bringshis customary elegant and lovely sound to"Qual serpe tortuosa," whose spectacularcuding violin triplets sures t the snake ofthe aria's title, and tenor Topi Lehtipuulends vocal authority to the role of the dis-tressed father, with the score's loveliest aria,"Deh, ti piega." Bass Lorenzo Regazzoplays the pirate Oralto with gusto and self-deprecating humor, especially in the shortaria "Perdo ninfa," in which he expressesregret at losing the nymph ("She was agoddess!"), then quickly turns in buffotage on the other characters.

JUDITH MALAFRONTE

BERNSTEIN

MASS

CHORAL AND SONGBERNSTEIN: MassD Scarlata; Company of Music, TölzerKnabenchor, Cborus Sine Nomine,Tonkiinstler-Orchester, Absolute Ensemble,Kjärvi. English and Latin texts. ChandasCHSA 5070 (2)

This smashing new recording of Bern-stein's Mass challenges and in some wayssurpasses the original one. A previousentry, Kent Nagano's polished and well-intentioned but sterile version on Harmo-nia Mundi in 2004, was the first recordingsince the original, which was recorded liveat its premiere in 1971, conducted by thecomposer. Though ultimately unsuccess-fiil, the 2004 Harmonia Mundi recordingwas nonetheless a milestone, because itindicated that the always-controversialwork was finally being taken seriously by aconductor of Nagano's stature — perhapsa bit roo seriously.

The new version features Kristjan Jarviconducting the combined forces of theTonkiinsrler-Orchester and the Absolute

Ensemble, two groups for which he servesas music director. 1 hough Bernsteinsearnest mélange of classical and pop styleswas criticized (and even ridiculed) by someat the time, it now seems prescient, andthe piece must be considered a landmark,given the influence, acknowledged or not,it has had on the subsequent generation ofAmerican composers.

Jarvi, clearly in command of all theidioms, matches Nagano's classical polishin the stretches of Mahler- and Britten-esqLie orchestral writing, but he and hisforces demonstrate a comfort level in therock, pop and blues pas.sages that far sur-passes Nagano's. Even compared to Bern-stein's original, Järvi's pop sections mostlysound better. This is partly a reflection ofthe advances in recording and engineeringtechniques from 1971 to the present day,but it's also because popular and classicalidioms commingle more naturally today,especially under confident leadership suchas Järvi's. And let's not discount the efïectof great playing and singing.

Randall Scariata, as the Gelebrant, has avocal coloring similar to that of AlanTitus, who created the role. Like Titus,Scarlata effectively modulates his trainedopera voice to the more vernacular realmof direct expression called for by the part.This is crossover singing at its best. Scaria-ta's "Simple .Song" soars, first gently thenurgently, and he delivers a ringing, pas-sionate "Word of the Lord."

The mixed chorus (Ghorus SineNomine), the "street chorus" (the Vienna-based Gompany of Music) and the boys'choir (Tölzer Knabenchor) all pulse withvigor and immediacy. To an American ear,the European-accented English in thesolos adds to the sense of universalembrace Bernstein sought. ReinwaldKranner, one of the rock singers, is astandout among many strong performers,providing a bold, rebellious edge to "IDon't Know." I also enjoyed Ruth PCraus's"World Without End" and Dave Moskin's"I Believe m God."

The outstanding drum and percussionplaying contribute significantly to the suc-cess of this recording. The tambourine real-ly drives the proceedings in tbe "In nominePattis" section, and the bass drum thwacksare much more present than in the origi-nal. The ^eeiul pounding of the drums atthe climax of "I Don't fsjiow" is anotherwelcome explosion. (Damicn Ba.s.sman andWalter Schiefer are the drummers.)

OPERA NEWS

In the climactic "Things Get Broken"section, Järvi is edgier and, surprisingly,more secure rhythmically than even Bern-stein when it starts to heat up, thoughScarlata, Titus and jerry Hadley as well, onthe Nagano recording, all give convincing,admirable performances of this dramatur-gically difficult mad scene.

In sum, the new recording is hj-pnotiz-ing in its vibrancy, the slickness of its engi-neering and the confidence of itsintegrated vision. It makes the Mass soundbrand new. The occasional track goes bythat, for one reason or another, doesn'tmeasure up to the original, but for themost part, the new recording is a revela-tion. If pressed, I would have to say this isthe one to have if you don't know thepiece and can only buy one.

JOSHUA ROSENBLUM

MACMILLAN: St. John Passionn Maltmau: London Symphony Chonisand Orchestra, C. Davis. Text andtranslations. LSO0671 (2)

Beginning with Krzysztof Penderecki's1966 St. Luke Passion, the past fifty yearshave seen a strong resurgence of Passionsettings from composers of very differentaesthetic sensibilities. Among the most cel-ebrated contributors have been AndrewLloyd Webber {Jesus Christ Superstar,1970), Arvo Part {St. John Passion, 1982),Mauricio Kagel {Passion According to St.Bach, 1985), Wolfgang Rihm {Detis Passus,2000), Osvaldo Goíijov {St. Mark Passion,2000), Tan Dun ( Water Passion, 2000) andSofia Gubaidulina (St John Passion, 2000).Scots composer James MacMillan (b.1959) joined these prestigious ranks withhis 2007 setting of the St. John Passion.

A practicing Roman Catholic with a life-long background in liturgical choral music,MacMillan has regularly drawn composi-tional inspiration from the tenets of hisfaith. Indeed, the majority of his significantworks have a religious theme. Of theseworks, the St. John Passion is rhe largest inscale and the most powerful in utterance.

One of the many innovative conceptsMacMillan applies to the traditional musi-cal form of the Passion is to begin the pieceat the moment of Jesus's betrayal, withoutan overture or other lead-in. The work isdivided into ten sections, the last of whichis an instrumental commentary on thepreceding nine. Each of the first six sec-tions begins wirh narration and ends witha chorus, using texts derived from scriptur-

al and liturgical sources, primarily fromoutside the Passion story.

The work is scored for a medium-sizedorchestra. Only the role of Jesus is given toa vocal soloist, here the very well-castGhristopher Maltman. The chorus isessentially divided into two groups, eachcalling for singers of the highest caliber —-a small Narrator Chorus that sings the roleof the Evangelist, and a large chorus thatperforms all other vocal music, includingthe portrayal of numerous characters. TheLondon Symphony Chorus proves worthyof the musical challenges.

Musically, this Passion speaks its ownlanguage, largely within a tonal idiom: it isobviously influenced by the traditions ofliturgical choral music but does not resortto direct quotations or mimicking the rech-niques of bygone stylistic eras. Some mayfind MacMillans heavy use ot melisma andheterophony to be misguided, as ir tends toweaken the directness of speech one associ-ates with Jesus and the strongest of theother characters. But this stylistic choicebecomes more persuasive as the work pro-gresses. As we approach the Crucifixion,the music gains dramatic power, ctilminat-ing in the fourth and fifi:h sections, devot-ed to Jesus's trial, ordeal and condemnationbefore Pilate. MacMillan creates a very pal-pable level of tension between characters asPilate tries to determine what to do aboutJesus and his accusers.

The final choruses of each sectionincrease in emotional intensity throughthe fourth section, during which Judas isvilified for his act of betrayal. The fifth sec-tion, in which Jesus is condemned todeath, closes with a subdued setting of"Cruciflxus," perhaps in homage to Bachsrendition of this text in his B-minor Mass.In seaion seven, a complex piece of writ-ing utilizes the text of the Stabat Materand makes textual (not musical) referenceto both the "Coventry Carol" and "OHaupt, vol Blut und Wunden," from

Bach's St. Matthew Passion.The seventh vocal section, entided The

Reproaches, is the only disappointment inthis ninety-minute work. Here, MacMil-lan departs from the gospel narrative andin a scolding manner conflates the wordsof |esus and texts from the Pentateuch.Perhaps MacMillan's intent is both toshow that Jesus and the Old IestamentFather are one and to express the wrath ofGod; unfortunately, this section comesacross as a pretentiotis, unconvincing accu-satory rant from the composer himself.

The orchestral closing section, "SanctusImmortalis, miserere nobis," covers a widerange of expression, from sorrow to devo-tion, from pathos to desolation. It is a truetour de force that could stand alone as aconcert work. Here as throughout, theLondon Symphony Orchestra plays withfervent intensity.

The St. John Passion is dedicated toColin Davis, now approaching his eighty-second birthday Davis gives the Passion asfine a reading as may ever be heard, thefocus and commitment of his leadershipshining throughout. This is a most satisfy-ing recording of a work whose strengthsbecome ever more apparent with repeatedhearings. ARLO M C : K I N N O N

PFITZNER; Von Deutscher Seele[~ Kringelborn, Stntzniatiu; Ventns. Moll;Berlin Radio Chorus, German SymphonyOrchestra Berlin, Metzrnacher. Text andtransLuion. Phoenix Edition l45 (2)

A retrospectively unfortunate title, cou-pled with the retrograde politics of com-poser Hans Pfitzner ( 1 8 6 9 - 1 9 4 9 ) ,doubtless keeps the "Romantic Cantata"Von Deutscher Seele (From the GermanSoul) from wider repertory currency. Thisis a pity, as the beautifully orchestrated,often stirring late-Romantic score wellmerits investigation by those who appreci-ate Mahler, Richard Strauss and Zemlin-

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