Other Links
Editorial Board
-
Editor - Bill Kenny
-
Deputy Editor - Bob Briggs
Founder - Len Mullenger
Google Site Search
SEEN AND HEARD
UK CONCERT REVIEW
Verdi, Requiem:
Barbara Frittoli (soprano), Olga Borodina (mezzo soprano), Piotr
Beczala (tenor), Ildar Abdrazakov (bass), Orchestra and Chorus of
the ROH, Antonio Pappano, Birmingham Symphony Hall, 20.3.2009 (GR)
Antonio Pappano has had many rave reviews in recent times – this
deserves to be one of them. Many such plaudits stem from the way his
enthusiasm is transmitted to those around him. This was clearly
evident when the Musical Director of the Royal Opera House brought
his Orchestra and Chorus together with some very distinguished
soloists to Birmingham Symphony Hall for Verdi’s Messa da Requiem.
Pappano’s trade is making the music fit the words and on this
evidence not just for the opera stage. Mind you the score of Verdi’s
memorial to his political idol Alessandro Manzoni generates its own
sense of drama and excitement, a passion that Pappano reproduced in
this concert. What is it about the energy levels of conductors? This
maestro was still pumped up after an uninterrupted ninety minutes of
strenuous work out!
The opening Requiem Aeternam began reverently enough with
orchestra and chorus on identical wavelengths, broadcasting their
supplications from the same hymnbook. The Kyrie eleison gave
us our first taste of the soloists, with tenor Piotr Beczala leading
the way. Having caught up with (and been impressed by) his Edgardo
from Donizetti’s Lucia da Lammermoor on one of the Met’s ‘big
screen’ transmissions this year, I was eager to hear him in the
flesh. This Polish lyric tenor was warm and sufficiently Italianate
to be an ideal choice for the Requiem part. Having relatively
recently made it into the top flight I hope he remains there for
years to come. Successive repetitions of the Kyrie introduced
the other soloists – the scene was set.
However, nothing prepares you for that first blast of the Dies
Irae. It came with the force of a tsunami: the fifty strong ROH
chorus sounded more like a hundred; why none of the violin players
broke a string was a bombshell; the big bass drum tested the
foundations; the brass blasted a terrifying picture of the Day of
Judgement. The ensuing silence was deafening, making the vision of
death in
Mors stupebit
from the bass Ildar Abdrazakov even more stunning. Mezzo Olga
Borodina in Liber scriptus was as commanding and solid as
ever, delivering her message with a stately even tone and an
impression of Russian royalty. In such august company the heavens
muted their subsequent Dies Irae. As the text started to get
personal, Borodina asked Quid sum miser but the bassoon
obbligato answered her question with one of her own. When soprano
Barbara Frittoli joined Borodina for the sensitive Recordare
duet the result was breath taking. Beczala’s Ingemisco
underlined his cultivated tones taking the Bb at in
parte dextra in his stride. Pappano coaxed a typical Verdian
melody from a sonorous oboe; he was in operatic mode. It was
infectious and spread into Abdrazakov’s forceful Confutatis,
all too brief as the anger returns. Verdi was never one to let go of
a good tune, and a variation of the previous themes emerged during
the quartet.
The Offertorio demonstrated what the evening was all about –
ensemble singing and great melodies. After the tender opening duet
from Beczala and Borodina, Abdrazakov made it a poignant trio only
to be interrupted by Frittoli’s entry (I can still hear that single
extended note); it was all sweetness and light. Beczala’s Hostias
rang clear and true, the other three soloists joining in a prayer
whose affect was at times both fervent and compassionate.
The trumpets rang out for the Sanctus and brought in the ROH
Choir for the celebrations, sounding as if they were off to the
races. This was in vivid contrast to the following Agnus Dei;
the unaccompanied opening from Frittoli and Borodina singing in
octaves was true to the text and invoked the mood of eternal rest.
Let there be light. Yes, but the light of Lux Aeterna was but
a glimmer from Borodina as the dark chords of the lower woodwind
began to dominate. I thought that Abdrazakov then gave his finest
contribution of the night; Pappano picks the best and gets the best
out of them.
The Libera Me began at a cracking tempo. This final section
belongs to the soprano and Frittoli made it her own. The only
soloist without a score in front of her, we had the first signs of
animation from Frittoli. It came as bit of a surprise considering
what had gone before, but it seemed right to me, particularly at
Tremens factus. The choir gave a few more Dies Irae,
another wave of sound that dissolved into Requiem Aeternam.
As the orchestra fell silent, Frittoli had only the choir for
company; this was my tear jerking moment. Even when the orchestra
joined in Frittoli soared above everything – surely this was one
soul who would be saved.
What a send off Verdi composed for Manzoni. At the time, Wagnerian
Hans von Bülow jibed that it was ‘an opera in ecclesiastical dress’,
words that must have later haunted him. The performance of Pappano
and company gave us one hell of a wake!
Geoff Read
Back
to Top
Cumulative Index Page