A Latino setting of the Mass? Didn't Osvaldo Golijov already cover that territory? Not exactly. And what difference does that make? Unlike Golijov's La Pasion Segun San Marcos (St. Mark Passion), Sierra is not bound to any particular storytelling with his setting of the Mass text and, as a result, seems to be throwing in everything he knows - in the boisterously theatrical spirit of Night of the Mayas composer Silvestre Revueltas. Like Golijov, Sierra is irresistible, but in different ways. Sierra writes - sometimes overwrites - for traditional symphonic and choral forces, doesn't mind going over the top, and even treads the border of kitsch. It's exhilarating and fun. One Washington Post critic wrote, "I can't imagine anybody who starts listening to the Missa Latina wanting to turn it off before it's over." I couldn't say it better. --philly.com, David Patrick Stearns, May 24, 2009Roberto Sierra (b. 1953) was born in Puerto Rico, studied in Europe, and is now based in the United States. Several CDs of his music are available, the most recent being a substantial set of variations for piano and orchestra, Variations on a Souvenir. His Hispanic background and, in particular, a Caribbean influence inform his music, which has become stylistically more accessible as he gets older. Bongos, conga drums, and Cuban timbales are regular features of his orchestration, and he often makes use of Latin dance rhythms, even in this relatively serious setting of the Mass.  A major work for large forces, Missa Latina begins gently with a lyrical Introit utilizing plainchant. From then on, drama is the driving force, notably in the longest movements, the Gloria and the Credo. The latter, perhaps overlong at 21 minutes, brings an unexpectedly internalized take on the central tenet of belief, with a degree of angst reflected in its uneasy dissonance. To reach the concluding optimistic major-key Alleluia in a Mass titled Pro pace, Sierra goes through some soul searching.  In the meantime, the overtly Latin sections ring Bernstein-like bells (Latin as in South America, that is). Reviewing a disc of Sierra's symphonies in Fanfare 31:3, Peter Burwasser wrote of the Third Symphony: "I had the odd sensation of hearing a Caribbean composer aping the pseudo-Caribbean music of Bernstein." I felt the same: Sierra's Sanctus could have come out of Bernstein's Mass--not that there's anything wrong with that; the rhythmically catchy Sanctus is the most succinct and beguiling movement of this work.  The two soloists have as much to do as the choir, if not more. They sing almost constantly throughout, helping to give the setting a "human face." This, plus the clear dramatic arc and the exciting orchestral textures all come together to produce an involving piece of music. It must make a tremendous impact when heard live.  I have a number of problems with this recording. The primary one is the sound balance. In Naxos's usual way, there seems to be a narrow depth of field. A work with such large forces needs to open out when everyone is playing and singing at full steam, but instead, the sound becomes congested and muddy. Much of Sierra's distinctive texture is lost by mixing the percussion section too far back, so the Latin instruments make much less impact than they should. On the other hand, the soloists are recorded too close, which does them no favors. Webster's honeyed baritone begins to sound hectoring, and Murphy's slow vibrato becomes a major drawback. I found it irritating to listen to the soprano at forte and above, and we do hear a lot of her.  To sum up, Sierra's Missa Latina is an interesting and potentially popular work. It was co-commissioned by the National Symphony Orchestra of Washington, D.C. I hope they will tape it sometime, because I'm afraid this CD fails to give us the whole picture. --Fanfare, Phillip Scott, Jan-Feb 2010