With his Stabat Mater RV 621 in F minor, Antonio Vivaldi created a profound masterpiece. Countertenor Andreas Scholl sang excerpts from this work at the International Classic Music Awards (ICMA) winners' concert on March 19, 2025, at the Tonhalle in Düsseldorf. He was accompanied by the Düsseldorf Symphony Orchestra under the baton of Alessandro Tampieri.
00:00 I. Stabat mater dolorosa
02:55 VIII. Fac ut ardeat cor meum
04:28 IX. Amen
"Stabat Mater Dolorosa" is the opening of a medieval hymn and it means “The sorrowful mother was standing.” It has been set to music by many composers from the baroque period to the modern era. The version by Antonio Vivaldi is considered one of the most beautiful. But he used only ten of the original 20 verses, of which you can hear the first, “Stabat mater dolorosa,” and the last two, “Fac ut ardat cor meum” (Make my heart burn) and “Amen,” in this recording.
The Italian baroque composer Antonio Vivaldi was both a priest and an opera composer. During his lifetime, it was said that his sacred compositions, such as the well-known Gloria and Stabat Mater, were written as if they were for opera. This is precisely what makes the singing in the Stabat Mater so moving and heartbreaking. The piece deals with the suffering of the Virgin Mary as she mourns her dying son on the cross and stands by him in his final hours.
Vivaldi composed his religious choral and instrumental works mainly while working as a music teacher at the Ospedale della Pietà, an orphanage for young girls, where he provided them with an excellent musical education from 1703 to 1716. His Stabat Mater was also written during this period, although the exact date is unknown. It’s believed the work for violins, violas, basso continuo, and solo voice was performed for the first time in Brescia in northern Italy in 1712.
To this day, there is debate over whether the high solo voice of Maria was originally sung by a man — as was usual in baroque church music — or a woman. Since Vivaldi composed many works for the girls’ orchestra in the orphanage, it’s likely the solo was sung by a woman, which was not welcomed in churches at the time.
In this recording, countertenor Andreas Scholl sings the empathetic solo part about the suffering of the Virgin Mary. The violins and violas play a special role here: They accompany the solemn singing with sighing motifs and a heartbeat rhythm that creates a real pull.
Countertenor Andreas Scholl specializes in baroque music. For his album “Invocazioni Mariane,” which he recorded with the Accademia Bizantina under the direction of Alessandro Tampieri, he received the International Classical Music Award in the category of Baroque Vocal in 2025.
Scholl received his diploma in early music in 1993 from the Schola Cantorum Basiliensis in Basel. He performs with many renowned baroque ensembles. Since October 2019, Scholl has been professor of singing at the Mozarteum in Salzburg. With a head voice, also known as falsetto technique, which is amplified by chest resonance, he is able to sing in the vocal range of female voices. The ICMA jury stated, “With the appropriate modesty, he sings the cantatas from baroque Italy: with gripping drama and melancholy in Porpora, with great sympathy in Vivaldi’s Stabat Mater."
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