Track Listing

1. Pie Jesu
2. Quia respexit

Product Details

• Amazon Sales Rank: #197488 in Music
• Released on: 2001-09-18
• Number of discs: 1
• Format: Import

Amazon.com
At first glance, this looks like another of those star turns in which a highly publicized singer tackles material calculated to broaden her appeal. But it's much more than that, for Angela Gheorghiu, in addition to possessing one of the great voices of our day, exhibits an affinity for most of the 15 selections on this highly attractive disc. She opens with Romanian Orthodox works that are compelling in their heartfelt simplicity. The rest of the program includes standards, like the Schubert Ave Maria, and traditional Christmas songs, such as "O Holy Night" and "Adeste fideles" (both gorgeously sung with a restraint that averts sentimentality), along with others ranging from the familiar to the seldom heard. One of these rarities is the high point of the disc: Niedermeyer's "Pieta, Signor," sung with spectacular intensity and boasting some thrilling trills. Gheorghiu's so good that this Christmas stocking stuffer becomes a disc for all seasons. --Dan Davis

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One can argue with 'sacred', and 'arias' is a misnomer. This is a strange mixture of items from Bach to twentieth-century Romanian, but ignore the generic titling and sit back to share with Angela Gheorghiu songs which are 'for her a musical affirmation of faith'. Some of the items, such as Wiegenlied and Auf Flugeln des Gesanges should be accompanied by the piano and do not benefit from the orchestral arrangements, that to the Brahms song being mushy and nebulous. The Mendelssohn strikes me as being fast at 2'49". On a new Hyperion disc (which will be reviewed next month), Sophie Daneman takes 3'02", whereas Janet Baker has a more leisurely 3'18". Gheorghiu refines her tone for Faure's 'Pie Jesu', exquisitely done, then provides a fuller, richer sound as she pleads with God in Pieta, Signore. Indeed, this seems more a question of demanding mercy than humbly requesting it. Adeste, fideles starts at a quick pace that I never sang in my days in an Anglican church choir. Gheorghiu's version really is 'joyful and triumphant', far more invigorating than Puccini's dull Salve regina.The Romanian songs are among the most enjoyable pieces on the disc. The listener is summoned not by bells but by the toaca, a wooden device, and is rewarded with a beautiful, haunting song by Anton Pann (1794-1854), sincerely sung. It demands frequent replaying. More outgoing is the Cucu item, with Gheorghiu giving full rein to glorious tone, the voice soaring exultantly above the choir. This is not a field in which we usually hear Angela Gheorghiu. Think of it as an adjunct to her operatic fare. It is the last of her Decca recordings and is dedicated to the memory of her sister Elena, who was Giannetta in Decca's L'elisir d'amore. John T. Hughes

Customer Reviews

Per Nina...
On the cover of this CD, there is a small inscription, "per Nina." Nina was Angela's sister to whom she wishes to dedicate this recording. I think that beyond the golden and personal words, other spiritual connotations are involved. I agree with the format of this CD because I understand the authors' philosophy of life, which I will try to explain.

I should underline first that the word ROMANIAN keeps repeating here: Angela, Ion & Constantin Marin (the conductors), the Romanian MADRIGAL Choir, Romanian songs, etc. I see a more personal affiliation in this display, mostly because Romanians usually pay respect to thier cultural roots. Angela Gheorghiu begins with four Romanian "songs." These express the Romanians' bond with God, which is unfortunately rarely encountered on other Western CDs (listen, if possible, to other recordings of the Romanian MADRIGAL Choir!).

Then, the universe opens to a broader horizon, to a "sacred" repertoire of songs beautifully arranged or composed for orchestra and chorus. The sacred area is also expanded to two non-sacred pieces (Brahms's Wiegenlied and Mendelssohn's Auf Flugeln des Gesanges) simply because of their sacred quality, as stated in the CD Notes.

"Mysterium" reveals the truth and beauty of the human world with purity, simplicity, serenity, respect for people and God, melancholy, and understanding. It is the fruit of people coming from different places, reunited, who sing together the concert of human values. Musical expression is highly achieved here, not through the grandeur of the sonority and the number of forces, but through the artists' inner humbleness.

Sacred music from an angelic voice
'Mysterium', Angela Gheorghiu's offering of sacred music from both the Romanian Orthodox and Western spiritual traditions, is a very personal statement from this great soprano. She grew up during the infamous Nicolae Caescescu dictatorship, where religious music, though barely tolerated, was still one of the few ways one could express oneself and escape the terrors of everyday life. All of this music, both Romanian and European, has very strong spiritual and emotional significance for Gheorghiu - in fact, the album is dedicated to her sister `Nina' (Elena Burlacu Dan, who was killed in a car accident in 1996). The soprano's astonishing voice, huge palette of tonal colors, superb technique, dramatic fire, and most importantly, her genuine faith, total sincerity and commitment, and her humility make this CD a must for anyone even remotely interested in any of this repertory.

One of the things I most admire about Gheorghiu is her desire to share the music of her homeland with the rest of the world, and this CD begins with four mesmerizing selections of music from the Romanian Orthodox Church by late 19th and 20th century composers. These evoke for Gheorghiu and the listener the awe and mystery of Romanian monasteries with their incense and candle wax. Although this music is traditionally sung a capella, it is here sung with orchestral accompaniment - Gheorghiu did check with religious authorities in Bucharest to make sure this was, er, kosher. Actually, some of the intervals and melismas are very reminiscent of Jewish music, and I'd be very interested in learning which tradition borrowed what from whom. The first sound we hear on the disc is the toaca, a wooden percussion instrument used in lieu of bells to call the faithful to prayer. This leads into `Tatal Nostru', a Romanian version of The Lord's Prayer, which immediately shows the arresting, soulful quality of Gheorghiu's voice and ends on a gorgeous floated 'Amen'. `Privegati e si rugati' (`Watch and Pray') is equally beautiful. `Stihuri din Catavasiile intampinarii Domnului' (Verses from the Tellings of the Meetings of the Lord') is the most elaborate of the compositions here, a call and response on the words 'Slava tie Doamne' ('Glory to you, O G-d) contrasting with the more introspective `Iubi-te-voi, Doamne' (`I love Thee, O Lord').

It is a pity that Gheorghiu couldn't devote an entire album to this Romanian music. In particular, I wish she had sung the stunning carol `O ce veste minunata' that her husband Roberto Alagna recorded for his Christmas album, if for no other reason than Decca would have provided the texts and translations that EMI didn't! Still, the Western material which follows is of a very high standard. I applaud Gheorghiu for bringing out such rarities as the Puccini 'Salve Regina' and the Mascagni 'Ave Maria' (based on the intermezzo from 'Cavalleria Rusticana'), in addition to the famous Schubert version of the prayer. And, of course, we have 'popular' sacred songs and Christmas carols that are also dear to the soprano. An otherwise stunning version of `O Holy Night', with rich, broad phrasing and a spectacular high C, is marred slightly by her singing it in English instead of the original French. `Mille cherubini in coro' is the sweetest and tenderest lullaby imaginable, as is the famous one by Brahms. We go a bit more into 'art song' territory with Gheorghiu's laughter-filled, tender and seductive 'Auf Flugeln des Gesanges'. Oratorios are represented by 'Quia respexit' from the Bach Magnificat, which makes me eager to hear Gheorghiu sing the soprano lead in the Mozart as well as the Verdi Requiem she has already recorded, and the 'Pie Jesu' from Faure Requiem. Despite Gheorghiu's palpable sorrow, this is a bit of a disappointment because she seems to have trouble actually pronouncing the word 'requiem'. A truly 'joyful and triumphant' 'Adeste Fideles' concludes the album.

However, the highlight of the Western pieces is Louis Niedermeyer's `Pieta, Signore'. I was surprised that Gheorghiu included this since it is a piece I usually regard as tenor property - I have recordings by Bjorling, Kraus, and Pavarotti. She makes this into a mini-opera, a drama of repentance and plea for G-d's mercy with glowing tone, impassioned urgency, and magnificent trills. I only wish she had taken the reprise pianissimo as Bjorling did.

Of course, one must acknowlege the superb work of the Madrigal Choir, who are full and equal partners to Gheorghiu - I'm a choral singer, so I know! The blend of sound is gorgeous and they are adept in every style and in every language on the program, English included. I hope to find other CDs featuring them, and that Gheorghiu (who loves them) works with them again. Ion Marin does a fine job conducting the London Philharmonic and instilling the proper Romanian spirit into these English musicians.

I have somewhat mixed feelings about the notes. Although there is good biographical information about Gheorghiu and her relationship to this music, there isn't enough information about the music itself, and some of the comments about the 'desacralized cosmos' come off as somewhat pretentious for a CD booklet. Also, the Madrigal Choir sing in all the Romanian selections, not just the two they are credited for. Finally, the cover really is unfortunate. I understand that they were trying to paint Gheorghiu as a Romanian Orthodox icon, but it comes out looking rather cheesily new age/heavy metal.

This CD was intended as a companion to the superb BBC documentary `Angela Gheorghiu's Romanian Journey' where the soprano travels to the astoundingly beautiful Romanian `painted churches', narrates a history of the Romanian Orthodox Church and its music, and sings several several selections from this album. I can only pray that this is released on DVD or at least shown in the US. In the meantime, with 'Mysterium' you can have a religious music experience far classier than the average 'diva/divo Christmas album' and hear a singer who truly has 'sacred fire' in her soul.

Beautiful and different
I am going to say what I think about the cd. I think it's wonderful music, which helps me relax at night, and there is not one night where I don't fall asleep to this haunting, dark music. I like Romanian music, and was brought up around a Romanian house-keeper for a couple of years, so Romanian music in particular isn't that new to me.

I do know that Angela is Romanian, but I do not believe this cd has to be played only around Christmas time. It's music for any time of year. Sorry, I don't believe also, that the cover of the Mysterium is of poor quality, or a sign that Angela is losing it. One nore, I don't live in New York, and still take the time to appreciate all types of Classical music like this, and appreciate Angela's style for being different. That goes for the cd design as well, despite what image Angela portrays.

Around Christmas 2001, I saw the cd sitting on the shelf in the store. I almost bought it, but did not have the chance to listen to it prior to buying it. I left it there and went home. Only last week, did I listen to it in another store, and finally decided to buy it. All the songs are beautiful, dark and haunting. Track 1(Tatal Nostru) is gorgeous, and Angela has the right vocal ability to pull her voice in our really propel it outward.

O holy night is also a lovely song, and it is the first time I ever heard her sing in English. Pie Jesu is pretty, as well as all the other tracks.

The really descriptive booklet explains the reason why Angela has made this particular type of album, and I am not sorry she did, or sorry that I bought it.
The different Ave Maria arrangements are different to the ones I know by heart. These are the real oldy versions which have withstood the test of time.

I liked the idea of putting Adeste Fideles at the end of the cd, because it breaks the solemnity of the cd. The graphic on the cd itself is pretty too. Mysterium is a fine cd to add to your Classical music collection. There's nothing wrong with the packaging or the design at all.

Hope my review helped you.