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Wydawnictwo: LSO Live
Nr katalogowy: LSO 0683
Nośnik: 2 SACD
Data wydania: wrzesień 2009
EAN: 822231168324
na zamówienie
Nasze kategorie wyszukiwania

Epoka muzyczna: romantyzm
Obszar (język): włoski
Rodzaj: msza, requiem

SACDHybrydowy format płyty umożliwia odtwarzanie w napędach CD!

Verdi: Requiem (1874)

LSO Live - LSO 0683
Christine Brewer, soprano
Karen Cargill, mezzo-soprano
Stuart Neill, tenor
John Relyea, bass
London Symphony Chorus
London Symphony Orchestra / Sir Collin Davis
Nagrody i rekomendacje
Diapason 5
Sir Colin Davis' series of choral masterworks continues with Verdi's Requiem, a work that Davis has been conducting for much of his long career. It is also his second recording of Verdi's late works for LSO Live, having previously conducted the GRAMMY® Award-winning recording of Verdi's Falstaff in 2004. He is joined for the Requiem by four superb soloists, three of whom have appeared on Davis' previous LSO Live recordings. Appearing on his first LSO Live recording is the outstanding Verdi tenor Stuart Neill. Davis' award-winning recordings of Sibelius symphonies will be released in the autumn as a 5 CD box set. During September, Davis will begin recording Neilsen's symphonies and in December will record Verdi's Otello.

Aside from his operas, Verdi is best known for his extraordinary Requiem, written in memory of the Italian writer and nationalist Alessandro Manzoni. The dramatic power of the famous Dies irae and the sublime lyricism of the work’s solo passages have led many to describe it as more of an opera than a formal Requiem Mass.


'Each of the incisively characterised sections flows naturally out of each other – the slabs of brass in a speaker-bursting 'Tuba mirum' yielding to the nihilistic doubt of 'Mors stupebit' is superbly achieved – and the sheer grief of the 'Lacrymosa' is fantastically well expressed ...

This is one of the most driven things I’ve heard Davis do – penetrating, on-the-edge conducting that digs deep into the music’s astounding emotional range, and he is rewarded with similarly engaged, idiomatic playing. Try the clear articulation of chaos at the opening of the 'Dies irae'; or listen to the bassoon obbligato in 'Quid sum miser', which has never sounded so bleak ...

The four soloists are equally impressive. Christine Brewer, singing with heroic splendour, takes no hostages with the various gifts Verdi presents to her, superlative as she soars into the ether in the 'Lacrymosa', and at her commanding, dramatic best in the concluding 'Libera me'. Karen Cargill (who replaced Larissa Diadkova), a light, athletic mezzo who blends very satisfyingly in the ensemble passages, is very distinguished throughout the 'Dies irae', and hair-raisingly good in 'Liber scriptus' and 'Lacrymosa'. The men are more obviously Italianate and operatic: tenor Stuart Neill never looks back from a stunning first entry in the 'Kyrie'; and bass John Relyea has the authority of the Inquisitor and the darkness of Iago. The two tenor-and-bass arias in the 'Ingemisco' are superb.'


Concert reviews

‘listen to the fire he generates, the wisdom, the precision and his grasp of the music’s narrative ... Davis located Verdi’s heart right from the first bars. Whether sighing or seething, Joseph Cullen’s massed troops were on exemplary form; I’ve not yet recovered from their full-throated onslaughts in the Dies Irae, delivered with cutting consonants and the heat of hellfire. What of the soloists? Here too we were blessed. Throughout, Davis shaped Verdi’s tumult and song with the master’s touch’

The Times (UK)

‘The greatest interpretations are often those where you are most conscious of the music and least aware of the conductor’s will imposed on it.

Such was the case with this remarkable performance … allowing us to experience to the full the nightmarish quality of Verdi’s evocation of the Dies Irae, his deep compassion for the suffering, the flippant glory of the Sanctus, and the dreadful uncertainty with which the work closes’

The Guardian (UK)

‘When you are an octogenarian the prospect of another Requiem Mass might be regarded with some degree of circumspection. Unless, of course, you are Sir Colin Davis … Davis is still such a vigorous force for good in music: his clarity of purpose, his keen sense of weighting and rhythm (no one anchors music like he does), and his fervent love of great public utterances, make him the perfect candidate for big choral masterpieces ... Quite marvellous’

The Independent (UK)

James Mallinson producer; Jonathan Stokes and Neil Hutchinson for Classic Sound Ltd balance engineers; ; Recorded January 2009, Barbican, London; DSD (Direct Stream Digital) recording

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