Krzysztof Penderecki

Krzysztof Penderecki
Krzysztof Penderecki (1933-2020) conducting his oratorio "Seven Gates of Jerusalem" at the Winter Palace, St Petersburg, in 2001. Photo by Dmitry Lovetsky

Thursday, October 30, 2014

Giuseppe Verdi: Messa da Requiem – Michèle Crider, Markella Hatziano, Gabriel Sadé, Robert Lloyd, London Symphony Chorus & Orcherstra, Richard Hickox (Audio video)

This is something of a milestone in the discography of the work, being the first modern version to be housed on a single CD. That hasn't been achieved through hurry; tempos are much what you encounter on most big-scale, two-disc performances and, where they are on the fast side, as in the opening Kyrie, that accords with the metronome mark. As a whole the performance judiciously marries spaciousness with dramatic drive. Hickox achieves his effects unobtrusively without attempting the stricter observance of the text achieved, to enlightening effect, by Gardiner in his slimmer reading. Indeed anyone looking for a middle-of-the-road performance recorded with all the modern panoply of multi-miked sound will want seriously to consider this one.

Let me put some flesh on that judgement. The assembled LSO forces perform throughout with verve and dedication: listen to either the Dies irae or the Sanctus and you will hear what I mean. The chorus may not have the Italianate bite and timbre heard on the single-disc 1939 Serafin reading but it is, of course, far, far better recorded. The shaping of the work overall is strong and unfussy.

The soloists are more than adequate as a team, if not outstanding individually. The best of the quartet is undoubtedly Hatziano who, in her first major recording, fulfils all the hopes one has for her, singing with firm tone, warm, well-schooled style, no mannerisms – her "Liber scriptus" cannot be faulted. Beside her Crider greatly improves on her Teldec Ballo (6/96), convincing in attack, phrasing and emotional force, culminating in an urgent "Libera me", but the excess of vibrancy in her tone remains a worry.

The tenor is new to me: he must be one and the same as the Israeli artist, Gabi Sadeh, given several favourable reviews recently in Opera magazine. His voice has an attractive timbre and it flows easily through the grateful music Verdi wrote for his tenor soloist, though nothing he does quite reaches ultimate distinction. The disappointment is Robert Lloyd, now sounding sadly hollow in tone and finding difficulty in sustaining his line, relying on solid experience and technique to carry him through the assignment and offering a good bottom line in the concerted passages.

The recording is a typical Chandos production which aficionados will know means a big, reverberant sound, wider in range even than the Gramophone Award-winning Telarc/Shaw version (which the Hickox also resembles in security as an interpretation). Its disadvantage is that the soloists are backwardly stationed so if you turn up the volume to hear them properly you will be promptly lifted out of your seat by the next choral passage.

Source: Alan Blyth (

Έργο μεγάλης πνοής, το Ρέκβιεμ του αγνωστικιστή Τζουζέπε Βέρντι ανήκει στην ίδια ομάδα θρησκευτικών έργων κοσμικού χαρακτήρα με το Ρέκβιεμ του Εκτόρ Μπερλιόζ και το Γερμανικό Ρέκβιεμ του Γιοχάνες Μπραμς. Παρά την αρχική επιτυχία, το αριστούργημα αυτό ξεχάστηκε γρήγορα και μόνο μετά τον Μεσοπόλεμο ανασύρθηκε από την αφάνεια και εντάχθηκε στο βασικό ρεπερτόριο.

Τη Συμφωνική Ορχήστρα και Χορωδία του Λονδίνου διευθύνει ο αξέχαστος Βρετανός αρχιμουσικός Richard Hickox (1948-2008). Συμπράττουν η Αμερικανίδα δραματική σοπράνο Michèle Crider, η κορυφαία Ελληνίδα μεσόφωνος Markella Hatziano, ο σπουδαίος Ρουμάνος τενόρος Gabriel Sadé και ο πολύ γνωστός Βρετανός μπάσος Robert Lloyd.

Σημαντική εγγραφή, η οποία έχει αποσπάσει ενθουσιώδεις κριτικές και εξακολουθεί να θεωρείται ως μία από τις καλύτερες ερμηνείες και ηχογραφήσεις του Ρέκβιεμ του Τζουζέπε Βέρντι, που έχουν υπάρξει ποτέ.

Giuseppe Verdi (1813-1901)

♪ Messa da Requiem (1874)

i. Introit and Kyrie (chorus, soloists)
ii. Dies irae
Dies irae (chorus)
Tuba mirum (chorus)
Mors stupebit (bass)
Liber scriptus (mezzo-soprano, chorus)
Quid sum miser (soprano, mezzo-soprano, tenor)
Rex tremendae (soloists, chorus)
Recordare (soprano, mezzo-soprano)
Ingemisco (tenor)
Confutatis (bass, chorus)
Lacrymosa (soloists, chorus)
iii. Offertory
Domine Jesu Christe (soloists)
Hostias (soloists)
iv. Sanctus (double chorus)
v. Agnus Dei (soprano, mezzo-soprano, chorus)
vi. Lux aeterna (mezzo-soprano, tenor, bass)
vii. Libera me (soprano, chorus)
Libera me
Dies irae
Requiem aeternam
Libera me

Michèle Crider, soprano
Markella Hatziano, mezzo-soprano
Gabriel Sadé, tenor
Robert Lloyd, bass

London Symphony Chorus
(Stephen Westrop, chorus master)

London Symphony Orcherstra
Conductor: Richard Hickox

Recording: All Saints' Church, Tooting, London, 1995

Chandos 1996

(HD 1080p – Audio video)

First publication: October 30, 2014 – Last update: April 13, 2017

Edvard Munch, Golgotha, 1900

See also

Μάγεψε το κοινό της η Μαρκέλλα Χατζιάνο στη Βιβλιοθήκη της Φιλοσοφικής Σχολής του Εθνικού και Καποδιστριακού Πανεπιστημίου Αθηνών

Markella Hatziano: Art without narcissism

Markella Hatziano: Painting with notes and colour – Interview by Kosmas Vidos, the uncut version | Μαρκέλλα Χατζιάνο: Ζωγραφίζοντας με νότες και με χρώμα – Συνέντευξη στον Κοσμά Βίδο, χωρίς περικοπές

Μαρκέλλα Χατζιάνο – Αποκλειστική Συνέντευξη / Markella Hatziano – Exclusive interview, in Greek

Manolis Kalomiris: Song Cycles – Markella Hatziano, Steven Larson (Audio video)

Maurice Ravel: Shéhérazade – Markella Hatziano, Steven Larson (Audio video)

Franz Liszt: Songs – Markella Hatziano, Steven Larson (Audio video)


Giuseppe Verdi: Messa da Requiem – Marita Solberg, Tuija Knihtilä, Barry Banks, Henning von Schulman, Gothenburg Symphony Chorus & Orchestra, Roberto Rizzi Brignoli (HD 1080p)

Giuseppe Verdi: Messa da Requiem – Tamara Wilson, Alisa Kolosova, Dimitri Pittas, Morris Robinson, BBC Proms Youth Choir, Orchestra of the Age of Enlightenment, Marin Alsop

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