Verdi: Messa da Requiem
Alto - ALC 1602
Kompozytor
Giuseppe Verdi (1813-1901)
Giuseppe Verdi (1813-1901)
Wykonawcy
Christine Brewer, soprano
Karen Cargill, mezzo-soprano
Stuart Neill, tenor
John Relyea, bass
London Symphony Chorus
London Symphony Orchestra / Colin Davis
Christine Brewer, soprano
Karen Cargill, mezzo-soprano
Stuart Neill, tenor
John Relyea, bass
London Symphony Chorus
London Symphony Orchestra / Colin Davis
Utwory na płycie:
- Requiem Mass: I. Requiem aeternam - Kyrie
- Requiem Mass: II. Dies irae
- Requiem Mass: III. Tuba mirum
- Requiem Mass: IV. Liber scriptus
- Requiem Mass: V. Quid sum miser
- Requiem Mass: VI. Rex tremendae
- Requiem Mass: VII. Recordare
- Requiem Mass: VIII. Ingemisco
- Requiem Mass: IX. Confutatis
- Requiem Mass: X. Lacrymosa
- Requiem Mass: XI. Domine Jesu Christe
- Requiem Mass: XII. Hostias
- Requiem Mass: XIII. Sanctus
- Requiem Mass: XIV. Agnus Dei
- Requiem Mass: XV. Lux aeterna
- Requiem Mass: XVI. Libera me - Dies irae - Requiem aeternam
- Requiem Mass: XVII. Libera Me
Requiem Mass
Two parts
Two parts
‘Sir Colin Davis conducts the Requiem with a judicious mix of fire and meditative calm’ (Gramophone)
‘a strong set of soloists ... Every note fills me with affection and wonder, and that’s rare ... his performance really feels like a live one as if we’re hearing this glorious score straight out of the crucible in which it was forged ... From the Domine Jesu Christe onwards everyone seems gripped by the unfolding drama, prompting them to give of their individual and collective best ... there’s a tension in the orchestra – a sense of approaching finality ... that dark, tolling figure in the Lux Aeterna is unforgettable, the soloists singing with a liberating loveliness that’s equally memorable ... Dies irae is (another) case in point ... Sir Colin’s performance is in another league entirely’ (MusicWeb)
‘a strong set of soloists ... Every note fills me with affection and wonder, and that’s rare ... his performance really feels like a live one as if we’re hearing this glorious score straight out of the crucible in which it was forged ... From the Domine Jesu Christe onwards everyone seems gripped by the unfolding drama, prompting them to give of their individual and collective best ... there’s a tension in the orchestra – a sense of approaching finality ... that dark, tolling figure in the Lux Aeterna is unforgettable, the soloists singing with a liberating loveliness that’s equally memorable ... Dies irae is (another) case in point ... Sir Colin’s performance is in another league entirely’ (MusicWeb)