Cecilia Bartoli's distinctive tone, rich and vibrant yet firmly defined, proves irresistible in the Stabat Mater. Pergolesi's Stabat mater and his C minor Salve Regina were coupled earlier on the Hogwood (L'Oiseau-Lyre) recording, highly praised by NA. The addition of another Salve Regina, this one attributed not quite conclusively to Scarlatti as a late work, provides the new record with a further attraction both on the piece's own merit (irrespective of authorship) and in its affinity with the Stabat mater. Another attraction for many will lie in the identity of the two singers and the conductor. Dutoit, to be sure, is not commonly associated with music of this kind, but the stylishness of his performances over a wide field may promote confidence that it will extend to this, and that the Montreal Sinfonietta will bring a touch that will not seem too heavy in an age which has grown accustomed to authentic instruments and reduced numbers. As for the singers, bath have the requisite clarity and flexibility, and Bartoli has made a notable success of arie antiche written within the period (Decca, 12/92). Her singing does indeed provide grounds for recommendation. That distinctive tone, rich and vibrant yet firmly defined, proves irresistible in the Stabat mater's "Quae moerebat", with its syncopated rhythm so curiously assorting with the words. Her voice reminds us too that Pergolesi spent most of his working life in Naples and wrote for vibrant Italian voices. June Anderson's tone is not entirely well-matched in that respect, and though much of her singing is admirable, there are some oddly piping notes from time to time (also a few phrases of slightly sharp intonation in the Pergolesi Salve Regina). Still, it is good to find two such 'star' operatic singers giving their attention to this part of the repertoire, and there is also genuine pleasure in hearing them together. -- Gramophone [8/1993]