Definitive isn’t a word I use lightly but Britten’s
recording of the
War Requiem must surely qualify. Granted,
composers aren’t always the best interpreters of their
own work but Britten is a notable exception. Add to that three
hand-picked soloists - Galina Vishnevskaya, Peter Pears and Dietrich
Fischer-Dieskau - and a first-rate recording team led by John
Culshaw and it’s not hard to see why this remains a very
special set indeed.
Regrettably, the
War Requiem - like Bernstein’s
Mass -
has some mawkish moments, which are hard to disguise even in
the most committed performances, Among the latter must be counted
Carlo Maria Giulini’s live 1969 account (BBC Legends BBCL
4046-2) which comes closer than most to the spirit of Britten’s
own reading. Not surprising, perhaps, as the composer was involved
in that performance, which also boasts Pears as the tenor soloist.
In recent years Sir Simon Rattle, Bernard Haitink and the late
Richard Hickox have all recorded the work, but for me Kurt Masur’s
live performance from 2005 remains the most consistently satisfying
of all.
Given such strong competition Helmuth Rilling may seem something
of a wild card. Ditto his soloists, who are up against Masur’s
stellar trio of Christine Brewer, Anthony Dean Griffey and Gerald
Finley. As with that other great requiem - Verdi’s - a
strong, well-matched team of singers is essential to the success
of this one too. I particularly enjoy hearing Finley, whose disc
of Ives songs was one of my picks for 2008 (see
review).
On the Decca set the
Requiem aeternam is superbly detailed,
the chorus crisp, clear and believably placed. As required the
boys’ choir is positioned further back, creating a somewhat
ethereal effect, the young voices always sounding fresh and unsullied.
By contrast this spatial arrangement is not as pronounced on
the Hänssler set; indeed, the Aurelius Sängerknaben
scarcely make any impression at all. Diction is not ideal either
- a problem that applies to Rilling’s choruses and soloists
alike - and the conductor paces this music a touch too deliberately
for my taste. There is no sense of foreboding here, but at least
the recording is reasonably atmospheric.
Britten’s setting of Owen’s alliterative
Anthem
for Doomed Youth has always struck me as one of the least
successful in this work. Once heard Pears’ distinctively
plummy tones are hard to erase but at least you can make out
the words. James Taylor is much too far back, as indeed are all
the soloists in Rilling’s performance. This turns them
spectators rather than participants and that rather undermines
the importance of the texts. As expected Finley calibrates his
voice well, adding real feeling to this sombre poem. Masur’s
chorus is also alive to the nuances of the texts, Rilling’s
well blended but often reduced to a wordless murmur. The Stuttgarters
do make amends in the
Dies irae, aided by some powerful
percussion, although if it’s shock and awe you’re
after Britten and Masur are the versions to go for.
‘Bugles sang’, from
Voices, is sonorously done by
baritone Christian Gerhaher, albeit with little feeling for the
words. As for the soprano’s
Liber scriptus no-one
can match, let alone equal, the imperious Vishnevskaya, who hurls
her words into the void with such fury. Brewer (for Masur) doesn’t
have quite the same heft but she’s pretty convincing nonetheless.
Rilling’s Annette Dasch has a lovely, secure voice but
it isn’t really up to the demands of Britten’s writing
at this point. As for Taylor and Gerhaher they manage to capture
the forced jollity of ‘Out there we’ve walked quite
friendly up to death’, although I’ve always found
this setting a trifle twee.
The Recordare, well projected and sung in the Britten and Masur
recordings, doesn’t have quite the same impact under Rilling;
that steady orchestral tread isn’t so all-pervasive either,
although he does raise the temperature somewhat in the reprise
of the
Dies irae that follows. Here the soundstage really
opens out and the bass is thrillingly felt. That said, this performance
just doesn’t have the consistency of focus or the propulsive
energy that characterises both the Britten and the Masur. The
baritone’s ‘Be slowly lifted up’ barely registers
and the tenor’s plea to ‘Move him into the sun’ has
none of the ache and tenderness that Finley finds in these desperate
words. This work really
is about the soloists, and that’s
what separates the merely good performances from the truly great
ones.
The Aurelius Sängerknaben are crisp and bright at the start
of the
Offertorium and Rilling injects some much-needed
energy into the orchestral accompaniment as well. For me ‘So
Abram rose’, from
The Parable of the Old Men and the
Young, with its hair-raising harp figures, has always been
the highlight of the
War Requiem. Britten is superbly
dramatic here, Pears and Fischer-Dieskau singing with great clarity
and unanimity. I’m pleased to say Taylor and Gerhaher acquit
themselves quite well at this point, although for vocal blend,
depth of feeling and sheer
frisson Finley and Griffey
are in a class of their own. Similarly Vishnevskaya makes an
unforgettable impression with her searing
Sanctus. Dasch
is nowhere near as commanding, but at least Rilling’s chorus
and percussionists make a splendid noise, sounding much more
controlled and refined than the composer’s forces on the
ageing Decca disc.
Listening to Britten’s reading of the
Sanctus I
was immediately struck by the music’s rhythmic and dramatic
power, qualities Rilling simply doesn’t extract from this
score. Indeed, in Britten’s hands the
War Requiem still
sounds remarkably fresh and modern, whereas in Rilling’s
it lacks all necessary musical and emotional contrasts. That
said, the distant cannon fire that begins the
Libera me is
very well caught by the Hänssler engineers, as indeed it
is by the LPO team for Masur. This really is the nightmare of
battle, the snare drums underpinning the febrile chorus, not
to mention the deafening bass drum. At last there’s some
real weight and drama from Maestro Rilling; what a pity it’s
all come too late.
The
War Requiem draws to a close with
Strange Meeting, Owen’s
most iconic poem set to some of Britten’s most marrow-chilling
music. The spare orchestration, with its ghostly groans and shudders,
is entirely apt for this grim tableau, and I have to say James
Taylor does a very convincing job with the text. Arguably Finley
digs even deeper and finds an extra layer of horror - especially
in the words ‘I am the enemy you killed, my friend’-
but Taylor’s is still a very fine performance indeed. In ‘Let
us sleep now’ Rilling’s forces find a wonderful sense
of repose, Dasch soaring gloriously above them all. If anything
Masur’s soloists and chorus are even finer at this point,
the LPO singers rich-toned and beautifully blended. Surely one
of the most poignant summations in all music.
There is much to admire in Rilling’s account of the
War
Requiem but in such a hotly contested field it simply isn’t
a front-runner. The composer’s own recording, helped by
an upfront - and somewhat exaggerated - soundstage, is the strongest
contender when it comes to sheer drama. Masur’s falls somewhere
between these two with a reading that combines emotional intensity
with an almost chamber-like refinement and sense of scale. For
me the latter’s the version to have, but be warned; the
LPO disc is SACD only and will not play on a conventional CD
player or disc drive.
Dan Morgan