Puccini: Messa di Gloria

“In the Mass, Antonio Pappano easily outshines his rivals on disc, enhancing the operatic element in the score. He has ideal soloists in Alagna and Hampson, and the London Symphony Chorus and Orchestra are in incandescent form. The couplings are welcome, aptly chosen and very well played.” Penguin Guide

“Puccini's early (1880) Mass is not a great piece of religious music, but its virtues shine forth in Pappano's loving performance.” BBC Music Magazine, September 2006 *****

“With soprano Brigitte Fournier in her element, impressive brass and crystal-clear woodwind textures, the chorus responds sympathetically to Corboz who stretches Poulenc's slow tempos to the limit but never beyond.” BBC Music Magazine, June 2008

"Pier Giorgio Morandi leads the Hungarian Radio Choir and Hungarian Opera Orchestra in a vibrant performance of this tuneful, handsomely orchestrated score. Some of the music soars on the melodic wings that make Puccini's operas so popular. Tenor Antonello Palombi sings fervidly... Two appealing orchestral works round out this attractive release." - Robert Baxter Courier-Post 8 March 2002

“This recording is to be preferred to Antonio Pappano's very fine account on EMI – and it's not just a question of price. If the recorded sound isn't as opulent as EMI's, it's very clear and lets in the light. If the dynamic contrasts aren't so big, they're also rather more refined.
Generally Giorgio Morandi prefers slightly faster speeds, though not so fast as Pappano when he really gets up some steam in the last sections of the Gloria. But in context Morandi brings out the inherent excitement very effectively and naturally whereas Pappano underlines it. With Pappano the majestic Verdian unisons of the 'Qui tollis' broaden like a great smile across a large face: it's grand fun but tends towards vulgarity. Of the work as a whole, Morandi and his forces give a more youthful performance. There's an easy lightness of step (the Gloria sets off with a dance). The chorus is particularly fresh in tone and response, and the tenor soloist, Antonello Palombi, is more gracefully lyrical and Italianate in timbre than either Alagna (with Pappano) or his predecessor Carreras (with Scimone). The baritone is less apt and certainly no match for Hampson (Pappano) or Prey (Scimone); musical nevertheless, and blending well with his colleague in the AgnusDei. In the string piece, Crisantemi, Morandi's somewhat quicker tempo, still answering to the marking andante mesto, is welcome, keeping mawkishness at bay and limiting the over-exposure of rather thin material.” Gramophone Classical Music Guide, 2010