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Site review by Castor August 31, 2009
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Performance: Sonics: |
The operatic character of Verdi’s Requiem is undeniable. Specifically, the melodrama of ‘Italian opera’ is invoked in many of the recordings of this masterpiece that feature soloists whose careers are firmly based in the Italian operatic repertoire from bel canto to verismo. Colin Davis’s moving interpretation, while unquestionably highly dramatic, eschews the patina of operatic cliché often inflicted on the work, (leaden tempi masquerading as piety, sobbing tenors etc.) and balances the liturgical and the histrionic aspects of the piece with unerring skill. In this he is aided by an interesting line-up of soloists, two Americans, a Canadian and a Scot.
Davis has always been a master of great religious choral works as his recordings from Handel to Berlioz confirm; his un-mannered straightforward approach paying dividends for the listener. The opening ‘Requiem aeternum’ immediately shows the LSO chorus at the top of its form, a tribute to the training by its director Joseph Cullen, and Davis coaxes playing of the utmost refinement from the LSO whilst still maintaining a forward pulse. A notable feature of the sound, first heard towards the end of the Kyrie, is the clarity of the timpani, played with hard sticks, that adds impressive punctuation to the music throughout this recording.
Davis launches the’ Dies Irae’ with cataclysmic ferocity and energy unmatched by many younger conductors and inspires the chorus to full-throated singing as well as invoking a sense of both terror and anticipation. The keen LSO brass make the most of the ‘Tuba Mirum’ and here the emergence of the extra trumpets from the surround speakers in the multi-channel mix is especially thrilling. The ‘Sanctus’ is light and buoyant although occasionally the exuberant orchestra swamps the chorus.
The first appearance of the four soloists at the opening of the Kyrie is disappointing. All four push their voices too much resulting in some strain and unpleasant vibrato. Happily this does not continue throughout the rest of the work.
Christine Brewer is the outstanding member of the quartet, and her lovely voice meets all Verdi’s demands. She never tries to dominate her colleagues and sings with her usual accuracy and phenomenal breath control. Her high B-flat at the close of the central a cappella section of the Libera Me, always a dangerous moment, is absolutely secure.
Karen Cargill, a late replacement for an indisposed Larissa Diadkova, may lack the weight and low register of others who have recorded this part, but she sings with much intelligence and tonal beauty. Her voice blends seamlessly with that Christine Brewer, particularly in the ‘Agnus Dei’, sung with an unaffected simplicity, and her singing in the Lux Aeterna is ravishing.
Stewart Neill is a tenor of considerable power, but with firm control of his large voice. His ‘Ingemnisco’ is launched with stentorian tone and a lack of refinement, yet at the words “inter oves locum praesta” he observes Verdi’s ‘dolce’ marking whilst also managing a hushed pianissimo. His vocal elegance is again apparent in ‘Hostias et preces tibi’ which he sings with a breathtaking mezza voce, while elsewhere his ardent singing is most welcome.
Some may find the fast vibrato in John Relyea’s dark, yet youthful sounding bass, a problem in ‘Confutatis maledictis’, but in general he sings with a smooth richness of tone and care for the meaning of the words.
The limitations of the Barbican Hall acoustic are well known by now and the sound quality could not be described as alluring. However, the engineers have achieved a recording that combines presence with a huge dynamic range whose impact is best experienced by increasing the volume control by quite a few notches (neighbours permitting!). The soloists are well balanced with both the orchestra and chorus and the recording probably gives an accurate re-creation of the live experience. The performances in January 2009, from which it was made, were dedicated to the memory of Richard Hickox and it would be difficult to imagine a more fitting tribute to this much missed conductor than Davis’s inspiring interpretation preserved on these discs.
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Copyright © 2009 Graham Williams and SA-CD.net
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