Hector BERLIOZ (1803-1869)
Requiem (Grande Messe des morts), Op. 5
Nicolai Gedda (tenor)
Chor des Norddeutsches Rundfunks; Kölner Rundfunkchor
Kölner Rundfunk-Sinfonie-Orchester/Dimitri Mitropoulos
rec. 26 August 1956, Saal 1, Funkhaus, Cologne ADD
ICA CLASSICS ICAC5075 [82:22]
Perhaps more than anything else, Dimitri Mitropoulos excelled in large-scale
works in which he had to direct substantial forces. The Berlioz Grande
Messe des morts certainly falls into that category. In the booklet note
Donald Rosenberg cites the forces required as a reason why orchestras rarely
programme the work. He might well have added that Berlioz makes huge demands
on the singers, especially the tenors; that probably makes people think long
and hard before putting on a performance, especially as a big chorus is required
to match the size of the orchestra, though the full band is sparingly
used.
This performance, which I presume was a live account, though there are no
audience noises, was one of two that Mitropoulos gave in the space of a few
days of each other during his 1956 summer visit to Europe. The other was given
at the Salzburg Festival just a few days earlier, on 15 August 1956, a performance
that Mitropoulos dedicated to the memory of Wilhelm Furtwängler. By happy
chance that performance was also preserved and it’s been available for
some time on Orfeo (C 457 971 B). In Salzburg Mitropoulos had at his disposal
the Chorus of the Vienna State Opera and the Vienna Philharmonic Orchestra;
his tenor soloist was Leopold Simoneau.
The start of the Cologne performance is a bit inauspicious. The first chorus
entries, especially those of the sopranos and, to a lesser extent, the tenors,
sound a bit strained. Also, one is conscious of a studio acoustic. By contrast
the Salzburg performance, which was given in the Felsenreitschule, benefits
from a more spacious acoustic, which better serves this work. The sound of
the Cologne choirs takes a bit of getting used to; their singing is a bit
vibrato-heavy for my taste and, to be honest, the sopranos often sound somewhat
on the matronly side during the performance. The Vienna choir isn’t
ideal either, though I think it has an edge over the Cologne singers. In truth,
the choral singing in both performances, though never less than adequate -
and often a good deal more than that - shows how much standards of choral
singing have risen in the last fifty years.
Having said that our first encounter with the combined Cologne choirs isn’t
ideal I must encourage you to persevere because the performance soon settles
and the singers make a pretty good job of Berlioz’s demanding writing.
They offer committed singing in the Rex tremendae, for instance. In
the Quaerens me some of the phrasing is just a little mannered, I feel,
though that’s down to the conductor. They cope very well with the Lacrymosa
and in this movement it’s right to give a special accolade to the tenors
who don’t quail in the face of the demanding tessitura at Judicandus,
homo reus and then voice the Pie Jesu sweetly. Despite a few instances
of understandable strain I think the choir gives a good account of itself
during what is a long, taxing sing - unlike, say, in the Verdi Requiem
there are no movements in which they can rest while the soloists take centre-stage.
In fact there’s only one movement that involves a soloist, namely the
Sanctus. Here he is Nicolai Gedda. I don’t think he’s done
any favours by the recorded balance, which places him in a very ‘present’
way. However, I’m not sure I agree with his approach to the solo. The
notes describe it as a “full-throated, heroic account” but is
that what’s wanted here? I think not. Gedda’s sound is beautiful
but there’s far too much of it. Switch to Simoneau on the Salzburg recording
and you’re in a different world. True, Simoneau is more distantly balanced
- which is as it should be - but he’s much more subtle with the music.
His singing is softer, lighter than that of his Swedish rival; he floats
the line, no matter how high it goes, and, for my money, that’s absolutely
correct and much to be preferred to Gedda’s forthright operatic way
with the solo.
Mitropoulos is in total command of the score. There are one or two aspects
with which I’m not quite comfortable. For example, the Hostias
is a bit robust - on both recordings. Here, the quieter, more prayerful approach
of Sir Colin Davis is much more satisfying - and in keeping with Berlioz’s
wishes. However, such moments of doubt are rare and most of the time Mitropoulos
is wholly convincing. The big moments come over very well. The Tuba mirum
- which, unlike on most recordings, is not separately tracked (it starts at
track 2, 4:56) - is very powerful and the Cologne brass bands stay together,
which isn’t easy to do; their Vienna colleagues don’t quite manage
it. In the Lacrymosa Berlioz’s musical juggernaut rolls along
implacably. However, Mitropoulos also impresses in the quieter moments, of
which there are many in this score. He handles the Offertorium, a favourite
movement of mine, very well, helped by some very good playing from the Cologne
orchestra. The Agnus Dei, when Berlioz brings the work full circle,
also comes of very well. In summary, this recording confirms what anyone who
has heard the Salzburg performance will know; Mitropoulos has the measure
of this vast score and is able to convey its gaunt majesty, its beauty and
its grandeur. I made a passing reference to the orchestra just then and should
expand on that by saying that their playing throughout the performance is
very good.
If you already have the Orfeo recording there is little need to duplicate
since the shape of the performances is pretty similar and the Salzburg reading
has the better soloist. However, if you haven’t yet heard Dimitri Mitropoulos’
very considerable interpretation of this great work then this Cologne performance
is well worth acquiring. As is the usual, regrettable practice of this label,
there’s a complete absence of texts. I imagine it was a challenge to
squeeze this performance onto one disc. Perhaps that’s the reason why
gaps between movements are extremely short - three seconds between the end
of the Lacrymosa and the start of the Offertorium, for example.
You may wish to use the pause button on your CD player at times.
John Quinn
Mitropoulos has the measure of this vast score and is able to convey its gaunt
majesty, its beauty and its grandeur.
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