RECORDING OF THE MONTH
Giuseppe VERDI (1813-1901)
Messa da Requiem
(1868/69, 1873/74 rev. 1875) [92.17]
Anja Harteros (soprano), Daniela Barcellona (mezzo), Wookyung Kim (tenor),
Georg Zeppenfeld (bass)
Philharmonischer Chor München,
Münchner Philharmoniker/Lorin Maazel
rec. live, 6-7, 9 February 2014, Philharmonie, Munich, Germany
Full Latin texts provided with translations in German and English
SONY CLASSICAL 88875 083302 [51.09 + 41.08]
“A tribute of respectful affection, the expression
of my sorrow.” Verdi
Maazel was chief conductor of the Münchner Philharmoniker until shortly before
his death in July 2014, aged 84. This disc documents an unforgettable concert
at the Philharmonie, Munich and is likely Maazel’s final recording.
Occasionally known as the Manzoni Requiem, Verdi’s great Messa
da Requiem is probably the best known requiem in the repertoire today.
Many great conductors have recorded it. I’m thinking of Toscanini in
New York in 1951; Victor De Sabata in Milan in 1954 and, surely the best known
of all, Carlo Maria Giulini in London in 1964-65. Few works have the power
to move an audience to tears as this.
I recall with great affection reporting
an inspiring performance of the work in 2013 at during the Dresdner Musikfestspiele
at Kreuzkirche, Dresden. It was conducted by Gianandrea Noseda and the touring
Orchestra e Coro del Teatro Regio di Torino. Noseda’s first-rate quartet
was Kristin Lewis, Sonia Ganassi, Francesco Meli and Ildar Abdrazakov.
Verdi conceived his Requiem for soprano, mezzo-soprano, tenor, bass,
mixed chorus and orchestra in 1868 as a tribute to mark Rossini’s death
in Paris. Verdi suggested that composers of Italy should unite in honour of
Rossini and he contributed the closing section - the Libera me, Domine.
Unfortunately the collaborative project experienced difficulties and never
came to fruition. Some five years later in May 1873 the death of renowned
novelist and poet Alessandro Manzoni provided the stimulus to compose a requiem
mass. Inconsolable he was too moved to attend the funeral but travelled to
Milan a week later to pay his personal respects. At this time the sixty year
old Verdi was at the height of his creative powers having recently had his
opera Aïda premièred in Cairo with only Otello and Falstaff
yet to be composed. On the first anniversary of Manzoni’s death the
Messa da Requiem was successfully given under Verdi’s baton
at the San Marco church, Milan. As the work became better known many observers
shared Brahms’ opinion that “Only a genius could have written
such a work.” Some commentators were less enamoured feeling that the
dramatic music was too operatic and not in keeping with the text, essentially
based on the liturgical Roman Catholic Latin Mass for the Dead. Strengthening
accusations of insincerity, Hans von Bülow described the score as “An
opera in ecclesiastical garb”.
Impeccably prepared, the Münchner Philharmoniker, the soloists and the Philharmonischer
Chor München perform majestically. This is a tightly secure and strongly characterised
account, gloriously bringing out the drama from this magnificent sacred score.
Under Maazel's expert direction the core of the work, the magnificent
Dies irae, communicates a convincing and thrilling depiction of judgement
day. The orchestra displays its dramatic strength and stirring sacred passion
in the full-bloodedly vivid climaxes. Initially the bass drum strikes seem
underpowered but soon recover, becoming suitably forceful.
Maazel has clearly used his experience to choose four well differentiated
and highly effective soloists. All are in excellent voice strikingly gelling
as a team. German soprano Anja Harteros a consummate performer impresses here
for her warm, clear tone, fluidity, lustrous top register and innate sense
of sacred expression. The welcome and soothing mood of the Quid sum miser
is imposing. It opens with Harteros’s glorious vocal and includes a
charming bassoon part. The anguished declamation given to the Libera me
is striking, although she is careful not to dominate with her sheer dramatic
weight. Harteros confidently accomplishes this demanding part which is laden
with contrasting emotions. This is spellbinding stuff and Harteros's
beautifully shaded singing, makes the hairs stand up on the back of the neck.
In quite exceptional form is Wookyung Kim the South Korean tenor with his
appealing, remarkably smooth and supple tone. He is captivating in the Ingemisco
tamquam reus. No stranger to lofty reverential expression he finds that
rarely achieved quality of vulnerability. Interspersed are lovely solos from
the oboe principal.
Italian mezzo Daniela Barcellona evinces considerable artistry especially
in the Liber scriptus. She is remarkably assured and is notable for
her darkly tinged expressive tone and her powerful projection. One of the
most notable sections is the beautiful duet between Harteros and Barcellona
in the Recordare - a poignant reflection on the passion of Christ
with their voices coming together memorably. Unflappable singing by German
bass Georg Zeppenfeld projects his dark, rich vocal easily and with potent
intensity. He finds compelling menace in the arresting Tuba mirum
with the words Mors stupebit et natura and in his solo Confutatis
maledictis the secure bass engagingly shifts between the required temperaments
of condemnation and compassion. Of special note is the Oro supplex;
it's one of the most moving melodies in the work. The Philharmonischer
Chor München performs with unquenchable spirit and engaging security.
Not surprisingly there are a number of excellent recordings. My most prized
now-classic account is the one conducted by Carlo Maria Giulini a magnificent
performance with the Philharmonia Orchestra and Chorus and soloists Elisabeth
Schwarzkopf, Christa Ludwig, Nicolai Gedda and Nicolai Ghiaurov. Powerful,
formidably dramatic and full of sacred awe Giulini recorded the work at the
Kingsway Hall, London for EMI Classics. One of the most affecting versions
I have heard was recorded live in 2013 by the Chor and Symphonieorchester
des Bayerischen Rundfunks under Mariss Jansons with soloists Krassimira Stoyanova,
Marina Prudenskaya, Saimir Pirgu and Orlin Anastassov in the Philharmonie,
Munich on BR Klassik. In addition I greatly admire the scorching 2009 performance
from Antonio Pappano with the Orchestra and Chorus of the National Academy
of Santa Cecilia, Rome with soloists Anja Harteros, Sonia Ganassi, Rolando
Villazón and René Pape. In Pappano’s account I was struck by the sheer
dramatic intensity generated in this recording made at the Auditorium Parco
della Musica at Sala Santa Cecilia, Rome by EMI Classics.
Returning to the present live recording made in the ever controversial acoustics
of the Philharmonie, Munich the sound team for Sony Classical have excelled.
We are confronted with realistic presence, good clarity and a splendid balancing
of the large forces. I could hear virtually no extraneous noise and the applause
at the conclusion has been taken out. As usual the presentation from this
source is impeccable including a helpful concise essay from Wolfgang Stöhr
and full Latin texts with translations in German and English. My only passing
grumble is that the text has not been linked to track numbers. This new Sony
Classics release is awe-inspiring.
Michael Cookson
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