"A tribute of respectful affection, the expression of my
sorrow." Verdi
Mariss Jansons chose to mark the bicentenary of Verdi’s birth with a
series of performance of the
Messa da Requiem with the Chor and
Symphonieorchester des Bayerischen Rundfunks recorded live at the
Philharmonie, Munich.
The
Messa da Requiem, occasionally known as the
Manzoni
Requiem, is probably the best known Requiem in the repertoire today.
Many great conductors have recorded it. I’m thinking of Toscanini, New York,
1951; Victor De Sabata, Milan, 1954 and, probably the best known of all,
Carlo Maria Giulini in London in 1964/65.
Few works have the power to move an audience to tears. I fondly recall an
inspiring performance in 2013 at the Kreuzkirche, Dresden conducted by
Gianandrea Noseda and the Orchestra e Coro del Teatro Regio di Torino.
Noseda’s fine quartet of soloists was Kristin Lewis (soprano), Sonia Ganassi
(mezzo), Francesco Meli (tenor) and Ildar Abdrazakov (bass).
The
Messa da Requiem was conceived by Verdi in 1868 as a tribute
to 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 novelist and poet Alessandro Manzoni, who Verdi
revered, 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 60 year old Verdi was at the
height of his creative powers having recently had his opera
Aďda
premiered in Cairo with only
Otello and
Falstaff yet to be
composed. On the anniversary of Manzoni’s death in May 1874 the
Messa da
Requiem was successfully given under Verdi's baton at the San
Marco church, Milan. As it 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, the conductor Hans von Bülow described the score
as “An opera in ecclesiastical garb”.
This new release offer us a thrilling performance that feels spontaneous
and immediately compelling. The Chor des Bayerischen Rundfunks is splendidly
drilled and sounds especially well unified throughout. They radiate a
rapturous passion that is both uplifting and exciting. Equally convincing is
the world class orchestra which responds with potent energy and unquenchable
spirit. Jansons’s quartet of soloists are wonderfully effective even if the
women are not especially well differentiated. Soprano Krassimira Stoyanova
has a mezzo-like lower register and mezzo Marina Prudenskaya a soprano-like
high register. Under expert direction, the core of the work, the magnificent
Dies irae, communicates a horrifying depiction of Judgement Day
with the orchestra full of dramatic strength and stirring sacred passion in
the many full-blooded climaxes. Albanian tenor Saimir Pirgu is in strong,
clear voice and the tenor solo in the
Ingemisco section is sung
with reverential expression and a touch of vulnerability. Interspersed are
wonderfully rendered solos from the oboe principal. There's
rock-solid singing by Bulgarian bass Orlin Anastassov who projects his voice
easily and with powerful intensity. He provides convincing menace as
demonstrated in the
Tuba mirum with the words
Mors stupebit et
natura. In his solo in
Confutatis he compellingly oscillates
between condemnation and compassion. Of special note is the
Oro
supplex which is one of the score's most heartfelt melodies.
Russian mezzo Marina Prudenskaya with considerable artistry picks up on
sacred expression in her solo in the
Liber scriptus which is
punctuated by ominous references to the
Dies irae. In the
Lacrymosa dies illa Prudenskaya is in inspiring voice, moving
smoothly and securely through her range. Another highlight is the
Quid
sum miser that establishes a welcome and soothing mood. The section
opens with the silver-toned Prudenskaya accompanied by a wonderfully played
lilting bassoon. Krassimira Stoyanova, the Bulgarian-born soprano, also
impresses with or her rich warm tone, clear diction, gleaming top register
and reverential expression. Especially striking is her anguished declamation
in the
Libera me where she fluently negotiates her demanding part
which is saturated with contrasting emotion. Her performance is compelling
with such beautifully shaded singing that it made the hairs stand up on the
back of my neck. Of the many notable episodes I found especially moving the
beautiful duet between Stoyanova and Prudenskaya in the
Recordare.
This poignant reflection on the passion of Christ has the two voices
blending marvellously.
Not surprisingly there are already a number of excellent recordings. My
most prized account is that by Giulini, a magnificent evergreen from 1963/64
with the Philharmonia and Chorus and soloists Elisabeth Schwarzkopf, Christa
Ludwig, Nicolai Gedda and Nicolai Ghiaurov. It was captured at the Kingsway
Hall, London for EMI Classics. Of the more recent recordings I greatly
admire the scorching 2009 performance from Antonio Pappano with the
Orchestra and Chorus of the National Academy of Santa Cecilia, Rome with
Anja Harteros, Sonia Ganassi, Rolando Villazón and René Pape. I was struck
by the sheer dramatic intensity that Pappano generates in this recording
from the Auditorium Parco della Musica at Sala Santa Cecilia, Rome on EMI
Classics.
Recorded live, the BR Klassik engineers have excelled with excellent
recorded sound that strikes an especially good balance between voices and
orchestra. As usual the presentation from this label is excellent including
a helpful essay from Wolfgang Stahr and full Latin texts alongside
translations into German and English.
This dramatic and stirring live performance ranks up there alongside the
finest recordings and demonstrates Jansons' impeccable credentials as
one of the world’s finest conductors.
Michael Cookson
Previous review: Paul Corfield Godfrey
