Best of the Month: Best of the Verdi: Requiems?
The mighty Verdi Requiem has long been a staple of both the huge orchestra and huge opera singer. Set from the catholic funeral mass, the practical use in an actual funeral is somehow secondary to the intense drama, which storms down with the full force of a John Martin canvas, on us miserable listeners.
The last 50 years have given us several notable recordings which are joined this month by a new rendition, offered by EMI. Produced from a series of live concerts in Rome, Antonio Poppano conducts the orchestra and chorus of the Accademia Nazionale di Santa Cecilia, with soloists whose credentials are impressive; Anja Harteros, Sonia Ganassi, Rolando Villazón and René Pape. The artwork is flames against a black background. Flames of passion? Flames of religious torment? Both, it turns out.
It is the band and especially the chorus that often take this recording beyond simply good. Great choruses are rare. They're horrendously expensive to maintain, and usually the most agile ones are made up of younger singers, whose voices have yet to mature. Pappano has his hands on the real thing. The fugal sections of the "Libera me, Domine" are first rate. Tons of full blooded, mature voices,with beautifully turned-out diction and articulation, demonstrate a heart-felt response to the dynamics of conductor and score. This brings me back to the flames. It is never lost on us that we're listening to Italians, making very catholic Italian music, with fire and intensity.
My perception of the Requiem will always be colored by the '67/Solti recording, which is flawed in so many ways but still, one of the most hell-for-leather, viscerally exciting events on record. I cherish this recording, but the bombast of the Vienna Philharmonic grate on the ear next to this new one. Also the soloists are too inconsistent. Marilyn Horn's Peterbuilt gear-change is distracting, Pavarotti delivers a "Ingemisco" for the ages, that is marred by really sloppy editing, Martti Talvela's grip on intonation is tenuous and Sutherland for all her worth, is just plain mis-cast.
The performance of Pappano's soloists are marked by truly impressive legato singing, without exception. All of them have the courage to throttle back and exhibit pure sotto voce, especially Villazón, but Anja Hartenros leaves the most indelible mark.
She and once again, that stunning chorus, deliver a "Requiem aeternam" that left me in the middle of the office, wondering what time of day it was. Youtube has a more. -- Hugo Munday.
怀淰＠＾过厾 on September 07, 2010 at 11:55 PM
never sounded so good, but if a chance presents itself, check this new one out and tell me if you think I'm smoking crack
Replica Handbags on August 23, 2010 at 03:51 AM
Thank you for attching the MP3,,hee..
David Horiuchi on September 30, 2009 at 10:35 AM
My interest in classical music coincided with the dawn of the CD era, which was fortunate for me (good sound, longer running time) and also coincided with the rise of Telarc. I picked up a number of their recordings, but for the more formal classical works, I tended toward the three Uni labels: DG, Philips, and (especially) London-Decca.
travel wallet on September 30, 2009 at 06:54 AM
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Hugo Munday on September 29, 2009 at 07:24 AM
I know where you're coming from, David. The fidelity is second to none (you're quite a Telarc fan, re: E. Kunzel?), and Hadley, may he rest in peace, never sounded so good, but if a chance presents itself, check this new one out and tell me if you think I'm smoking crack. I've always had a bias against the Shaw. Maybe the fact that I've only known it packaged with a bunch of other V choruses. One of the main reasons I love his Requiem is that it's so freakin' different from the um-cha-cha of another Verdi opera.
David Horiuchi on September 29, 2009 at 01:23 AM
I've performed the Verdi a few times, and the directors have always used the Shaw/Telarc recording for reference.
bbboomer on September 28, 2009 at 10:46 PM
Qui tollis peccata Munday?