Verdi: Messa Da Requiem

Editorial Reviews
Album Details
Verdi Dedicated this Wok- One of the Most Important Requiem Compositions of the 19th Century- to the Italian Poetmanzoni: "it was Merely an Impulse, Or Better: A Matter Dear to My Heart, that Drove Me to Honour this Great Man to Thebest of My Abilities".- He Did More Than That: He Composed an Immortal Memorial.

Tracks:

Messa Da Requiem: I. Requiem & Kyrie: Requiem Aeternam - Elisabeth Schwarzkopf/Christa Ludwig/Nicolai Gedda/Nicolai Ghiaurov/Philharmonia Chor/Wilhelm Pitz
Messa Da Requiem: I. Requiem & Kyrie: Kyrie Eleison - Elisabeth Schwarzkopf/Christa Ludwig/Nicolai Gedda/Nicolai Ghiaurov/Philharmonia Chor/Wilhelm Pitz
Messa Da Requiem: II. Sequence (Dies Irae): Dies Irae - Elisabeth Schwarzkopf/Christa Ludwig/Nicolai Gedda/Nicolai Ghiaurov/Philharmonia Chor/Wilhelm Pitz
Messa Da Requiem: II. Sequence (Dies Irae): Tuba Mirum - Mors Stupebit - Elisabeth Schwarzkopf/Christa Ludwig/Nicolai Gedda/Nicolai Ghiaurov/Philharmonia Chor/Wilhelm Pitz
Messa Da Requiem: II. Sequence (Dies Irae): Liber Scriptus - Dies Irae - Elisabeth Schwarzkopf/Christa Ludwig/Nicolai Gedda/Nicolai Ghiaurov/Philharmonia Chor/Wilhelm Pitz
Messa Da Requiem: II. Sequence (Dies Irae): Quid Sum Miser - Elisabeth Schwarzkopf/Christa Ludwig/Nicolai Gedda/Nicolai Ghiaurov/Philharmonia Chor/Wilhelm Pitz
Messa Da Requiem: II. Sequence (Dies Irae): Rex Tremendae - Elisabeth Schwarzkopf/Christa Ludwig/Nicolai Gedda/Nicolai Ghiaurov/Philharmonia Chor/Wilhelm Pitz
Messa Da Requiem: II. Sequence (Dies Irae): Recordare - Elisabeth Schwarzkopf/Christa Ludwig/Nicolai Gedda/Nicolai Ghiaurov/Philharmonia Chor/Wilhelm Pitz
Messa Da Requiem: II. Sequence (Dies Irae): Ingemisco - Elisabeth Schwarzkopf/Christa Ludwig/Nicolai Gedda/Nicolai Ghiaurov/Philharmonia Chor/Wilhelm Pitz
Messa Da Requiem: II. Sequence (Dies Irae): Confutatis Maledictis - Dies Irae - Elisabeth Schwarzkopf/Christa Ludwig/Nicolai Gedda/Nicolai Ghiaurov/Philharmonia Chor/Wilhelm Pitz
Messa Da Requiem: II. Sequence (Dies Irae): Lacrimosa - Elisabeth Schwarzkopf/Christa Ludwig/Nicolai Gedda/Nicolai Ghiaurov/Philharmonia Chor/Wilhelm Pitz
Messa Da Requiem: III. Offertorio: Domine Jesu Christe - Elisabeth Schwarzkopf/Christa Ludwig/Nicolai Gedda/Nicolai Ghiaurov/Philharmonia Chor/Wilhelm Pitz
Messa Da Requiem: III. Offertorio: Hostias Et Preces - Elisabeth Schwarzkopf/Christa Ludwig/Nicolai Gedda/Nicolai Ghiaurov/Philharmonia Chor/Wilhelm Pitz
Messa Da Requiem: IV. Sanctus - Elisabeth Schwarzkopf/Christa Ludwig/Nicolai Gedda/Nicolai Ghiaurov/Philharmonia Chor/Wilhelm Pitz
Messa Da Requiem: V. Agnus Dei - Elisabeth Schwarzkopf/Christa Ludwig/Nicolai Gedda/Nicolai Ghiaurov/Philharmonia Chor/Wilhelm Pitz

Tracks:

Messa Da Requiem: VI. Lux Aeterna - Janet Baker/Philharmonia Chor/Wilhelm Pitz
Messa Da Requiem: VII. Libera Me: Libera Me - Dies Irae - Janet Baker/Philharmonia Chor/Wilhelm Pitz
Messa Da Requiem: VII. Libera Me: Requiem Aeternam - Janet Baker/Philharmonia Chor/Wilhelm Pitz
Messa Da Requiem: VII. Libera Me: Libera Me - Janet Baker/Philharmonia Chor/Wilhelm Pitz
Quattro Pezzi Sacri: Ave Maria - Janet Baker/Philharmonia Chor/Wilhelm Pitz
Quattro Pezzi Sacri: Stabat Mater - Janet Baker/Philharmonia Chor/Wilhelm Pitz
Quattro Pezzi Sacri: Laudi Alla Vergine - Janet Baker/Philharmonia Chor/Wilhelm Pitz
Quattro Pezzi Sacri: Te Deum - Janet Baker/Philharmonia Chor/Wilhelm Pitz

Customer Reviews:

Schwarzkopf sings Verdi.......2007-04-04

There are very few recordings available of Elisabeth Schwarzkopf singing Verdi (anything beside Falstaff?), so for that reason alone, this CD deserves to be treasured.

Schwarzkopf's is a unique sound, and her Verdi Requiem sounds like no other. Another reviewer praised her high B-flat in the Libera Me - I totally agree, it is wonderful.

For those more accustomed to Pavarotti or Domingo as the tenor soloist, Gedda may not be for all tastes. His is a much more lyrical approach. But if conductor Giulini was looking for a more "reverent" sound among his soloists, he certainly didn't err in his choice of Gedda.

Nicolai Ghiaurov, on the other hand, is a pure blood & guts Verdian. From the first note out of his mouth, you know he is capable of blowing down the house with his immense cavernous sound. He is really fantastic to listen to.

The Requiem was recorded in September 1963 and April 1964, and digitally remastered in 1997. Unfortunately, it doesn't seem as if the remastering was very well done. The Philharmonia Chorus, a spectacular choral ensemble, sounds very distorted at times, especially when they come at you at full volume. The Dies Irae really suffers because of this.

The accompanying Quattro Pezzi Sacri, on the other hand, has fared much better. This recording was actually made earlier (December 1962), yet the engineered sound is positively heavenly. The spectacular sound of this chorus can be much better appreciated in this piece. This recording of the Quattro Pezzi Sacri is a real treasure that you won't forget.

Texts and translations included. One star off for the poor engineered sound of the Requiem.

TREMENDAE MAJESTATIS.......2005-09-13

This set can be recommended from two points of view. Firstly it contains all Verdi's mature choral works; and in the second place this account of the Requiem is perhaps the greatest ever recorded. After the Requiem came Otello and Faslstaff, and last of all he gave us the Four Sacred Pieces. Two of these are for unaccompanied voices, one in particular featuring an allegedly special scale, which I doubt we would be aware of if we had not been told. They are only described as `academic' or as `exercises' because they are by Verdi, who put up a smokescreen of self-ascribed simplicity all his career. In fact he had always studied and loved the mediaeval Italian polyphonists and these two compositions can easily rank with similar works by Brahms in my opinion. In Brahms or Bach we take the academic element for granted as all part of the style, which is entirely in the German tradition. Verdi was almost as exclusively based in his own country's music - all he took from German music was features of style that Italy had given to Germany in the first place, and we hear him at that with the explicit reference to Schubert's A minor quartet at the start of the Requiem. However there is more unaccompanied vocal work in his Requiem than in anything in the German choral/orchestral repertory, and that should not surprise us.

There is a slightly average liner-note that assures us solemnly that `it is not necessary to be a practising Catholic...to conduct Verdi's sacred music'. I guess that lets Toscanini off the hook, and I don't think Giulini's performance of the Te Deum is quite the equal of his. However in the Requiem Giulini seems to me to surpass everyone I've ever heard, Toscanini among them. There is not an Italian among the soloists, and when I listen to, say, Schwarzkopf's exquisite falling phrase at `Salva me' I still experience a slight longing to hear it dragged down in a lachrymose Italian tone, but they have too much integrity for cheap compromises, they are simply terrific in their own right, and Giulini supplies the Italian element. His sense for this great score seems to me perfect. He understands Verdi's alternations of fierce and almost brutal power with relaxed lyricism. Verdi's energy is physical, not nervous like Beethoven's. He is always powerful but rarely or never tense. The soloists do not miss a trick either. The monstrous demands of first climax of the Kyrie, with the soprano required to dominate her colleagues, choir and orchestra flat-out, are achieved grandly, and at the other extreme they are sublime in all their solos, and the great phrase at Tantus labor non sit cassus is wringing with emotion but perfectly under control. The Philharmonia chorus of the day (1963) was probably the best in the world, and the orchestra probably likewise. At full tilt in the Dies irae, with the spotlight on the brass at Tuba mirum, the cellos climbing above the treble clef at the start of the Offertorium, the celestial bassoon obbligato in the Quid sum miser - everything is just right and more.

For me Verdi's Requiem is the greatest choral masterpiece since Handel himself, and his Te Deum for me surpasses Berlioz and Bruckner and is indeed the finest setting since Handel's own mighty production celebrating the ludicrous victory at Dettingen. Giulini is excellent by any standard, but I still miss the incomparable surge and thrust that Toscanini brought to it. However there is a startling bonus here in the form of a solo of a few bars right at the end from Janet Baker no less. I wonder what that cost -- the spot is normally given to a member of the chorus. The Stabat Mater is powerful and affecting, and the chorus perform superbly on their own in the other two works. The recording is not awfully `forward' and it doesn't always treat Ghiaurov very well, but otherwise I must say my Sony equipment coped perfectly adequately, and it was a relief to be rid of the surface swish and pre-echo at points on my LP set.

I checked the text and translation of the Dies irae and the Stabat Mater, and the standard was a lot better than I have been encountering lately on other productions. There are two minor misprints in the Stabat Mater (`corni' for `cordi' and `pagis' for `plagis'). `Fac me crucem inebriari' is not Latin, and we can be pretty sure the text ought to be `...cruce...', with this line and the next meaning literally `Make me drunk with the cross and with the blood of the Son'. Otherwise my only comment is that the stanza `To stand with thee...' should be governed by the verb `I desire'. I lack the discernment of the liner-note author who finds the stanzas of varying literary merit.

Giulini did at least one later version, but I never yet heard one to equal this, from him or from anyone. I have no real difficulty with the recording, and I greatly hope you do not either.

Great Performance, TERRIBLE SOUND buyers beware !!!.......2005-05-25

This is indubitably a great performance. The quartet of soloist sing superbly. Schwarzkopf's high C (pianissimo) in the Liberame remains unsurpassed. The other famous recording of this work is the Shaw/Atlanta for Telarc. The soprano, in Shaw's recording, Susan Dunn, while also very good, cannot sing the same note in pianissimo as written by Verdi.

My beef with the Giulini recording is the sound. In loud passages such as the Dies Irae the distortion is so pronounced it is laughable. You would think that for a large record company such as EMI to reissue a recording they would spend a few bucks and do a decent remastering job. But this is not the case. The Shaw recording simply knocks the socks off the Giulini in terms of sonics. Hell, even the Toscannini sounds better and it was recording in the 40's.

In short, Giulini gets 5 stars for performance and no stars for sound.

An amazing achievement.......2004-06-21

Verdi's Requiem, like many of his later works, is extremely demanding when comes to bringing it to life in full strength. You need powerful orchestral and choral forces, extremely potent and expressive voices and of course a really insightfull conductor capable of holding all together and making the drama and meanings come to life.

Fortunately it looks that everyone who tried approaching this masterpiece tried its best. But among them are the real achievers. And I will mention only the three of them I think really need to be mentioned in this context: first, at least historically, is Da Sabata. I am one of not so many lucky listeners who has his edition feturing Maria Caniglia. And that is an achievement approaching perfection. The next one is Toscanini with his incisiveness which works its powerrs all the way through his 1951 live recording. And then is the recording at hand here.

This is one of the recordings documenting the glorious (so unfortunately dawned) era of music making at its highest. It shouldn't come as a surprise that behind it one finds Carlo Maria Giulini. This is just one of his greatest achievements that are landmarking the history of music. The attention to detail, so insightfull choice of tempo, the ability of conducting music so flowlessly to its highs and deep downs, the ability of using musical powers under his command to their very best and not least the profound understanding of the musical score are shown here in their full power. It grabs you from the beginning and you will find yourself under its powers everafter.

The choir might be the best you find on disc. It is highly responsive and produces some of the greatest moments of this piece. Along comes the Philarhmonia Orchestra in beatiful sound and very attentive and responsive to its mastreful conductor.

The soloists are as much as you could wish for. Envolved, musically perfect, rendering the amount of human drama that this piece comprises, the true voices of humanity you might say. I am especially delighted with Christa Ludwig which seems a different singer from her recording under Karajan (recording available from Deutsche Grammophone) and Ghiaurov who displays such a sensibility along with his powerful voice. Damme Schwartzkopf and Gedda are also very good although I couldn't stop myself dreaming at Franco Corelli, giving the amazing musical power unleashed here (you can hear him in the recording of the verdian requiem under Mehta).

As one of the other reviewers mentioned if you want only one recording of Verdi's Requiem you have to have this one. You will hear inner voices inside the orchestra, choir and soloists you will not hear anywhere else. The only real threat to this recording is Da Sabata's which is set back just by a poorer sound which makes it harder to come out with the greatest effect.

Heroic.......2003-11-06

Verdi's requiem often sounds more like opera than mass, and it seems Giulini and cast are not ashamed of that, either. The performance has tremendous dynamic range - heroically bright when the tenor first blasts out the "Kyrie", dark and brooding in the "Requiem", bleak and helpless in "Agnus Dei", and everything in between. The recording supports this - turn up the volume to audible levels at the start of "Requiem" and be blasted out of the room by "Dies Irae". Schwarzkopf is especially gripping, like she's trying to physically hold on to you with her voice.

Tracks:

Requiem E Kyrie
Dies Irae
Tuba Mirum
Mors Stupebit
Liber Scriptus - Dies Irae
Quid Sum Miser
Rex Tremendae
Recordare
Ingemisco
Confutatis - Dies Irae
Lacrymosa

Tracks:

Domine Jesu Christe
Hostias
Sanctus
Agnus Dei
Lux Aeterna
Libera Me - Dies Irae
Requiem
Libera Me

Customer Reviews:

Brilliant choral work, but CD not very economical.......2007-04-01

The Verdi Requiem is probably the only Verdi composition where the chorus can get more applause than the soloists. Whether that actually happened in this live, June 1987 performance at La Scala, I don't know, but it wouldn't have surprised me.

The chorus of La Scala is in very fine form. From the roar of the Dies Irae, to the hair-raising hyperkinetic Sanctus, to the hushed, expressiveness of the Libera Me chant, this chorus brings it all in this truly wonderful recording.

All four soloists are a pleasure to listen to, delighting the ear with their big beefy sound while keeping the vocal theatrics to a minimum. Cheryl Studer went on to record this with Claudio Abbado in 1991; she sounds pretty much the same in both recordings, I think. I enjoyed listening to Samuel Ramey, and was quite satisfied with Dolora Zajic's fine work with Studer.

Listeners may remember that Pavarotti was the tenor soloist in La Scala's 1967 Verdi Requiem recording with Leontyne Price, Fiorenza Cossotto, Nikolai Ghiaurov, and Herbert von Karajan. Twenty years separate these two performances, but he still sounds very satisfying here. By the way, this concert also takes place three years before another Italy concert, the big July 1990 "Three Tenors" show; this is a chance to hear Pavarotti before everyone got caught up in all the hype.

A reviewer mentioned the speed of the Sanctus (brilliantly performed by the virtuosic La Scala choristers). At 2' 28", it is definitely one of the fastest, but I think the record belongs to Daniel Barenboim (2'23").

There is no filler. In a 2-disc set, 87 minutes of music is going to be a tough sell for the more economically challenged. I managed to purchase this online for $5.85. Nevertheless, this is a recording you won't want to miss; your efforts to obtain it will be amply rewarded.

Muti reins things in (a little) the second time around.......2006-09-27

In 1979 Muti made a verdi Requiem so shocking in its brutality that it either made you sit up and take notice or cover your ears and run form the room. The Gramophone sitll calls it one of the ten best ever recorded--they used to claim it was the very best--and in 1987 Muti did a remake in digital sound. Basically his view remains unchanged, if slightly toned down. Tempos in the Dies Irae and Sanctus are faster than anyone else's (the dies Irae takes barely 2 min.) Dynamics are deafeninly loud in the fortissimo passages and hushed to a whisper in the PP passages, making for an overall impression of histrionics.

I do find it interesting that he has his chorus pronuonce Latin as if it were Italina, and operatic Italian at that, with little surges of emotion on every third syllable. All the soloists are first-rate. Pavarotti's voice is frayed compared to his prime--if you want to hear him at his best in the Ingemisco, turn to the Solti recording on Decca. Cheryl Studer doesn't seem to be ripping her voice to shreds as Scotto did on Muti's earlier version. You may be relieved or you may think she's not Italianate enough.

In any event, with great recordings of the Verdi Requiem from Toscanini, Fricsay, Guilini (two each), De Sabata, Serafin, and Reiner, it's foolish to call either of Muti's readings the best. As for being among the ten best, okay, if you like his driven operatic style.

Great solos, Mediocre amalgamation.......2006-01-01

This album has the star presence of Pavarotti and Ramey. This is quite evident, as the male solos are really great. However, I wasn't feeling Dies Irae and some of the other tracks as much as I was in other recordings. It felt rushed and less powerful.

This is a good album, but, I'd only recommend it for comparison to the other recordings. Score yourself the Vienna or Chicago recordings before listening to this.

Average customer rating:

Exciting live performance by a conducting legend
Great Voices in a Strong Performance

Verdi: Messa da Requiem

Manufacturer: Archipel
ProductGroup: Music
Binding: Audio CD

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ASIN: B0007WFY1Q
Release Date: 2005-03-29

Customer Reviews:

Exciting live performance by a conducting legend.......2007-04-10

Guido Cantelli was appointed Music Director of La Scala to succeed Carlo Maria Giulini in 1956, but died in a plane crash only a week later (Claudio Abbado took the job). A year before his early death, Cantelli, 35, recorded this live performance of the Verdi Requiem.

This performance runs 77", one of the few single-disc Verdi Requiems. It is an exciting reading from beginning to end. Yet there is never a feeling of being rushed. Even the Sanctus clocks in at 2:36, about average for this fugue.

The four soloists do a fine job. Most listeners will be familiar with Richard Tucker and Jerome Hines. Tucker recorded this work with Eugene Ormandy in the 1960s and sounds pretty much the same here, i.e., fabulous. Jerome Hines is one of the few Verdi Requiem basses with the low range power to actually make the low notes of the opening of Confutatis sound out.

Herva Nelli (1909-1994) was actually just beginning her operatic career in the 1930s. She went on to do numerous Verdi projects with Toscanini, including Otello and Aida. She does fine quartet work in the Requiem. However, just before the big Libera Me chorus, she exhibits some noticeable intonation problems, including her high B-flat. However, her climactic high C a few minutes later sounds right on.

Claramae Turner (1920 - ) sang contralto roles for the Metropolitan Opera in the 1940s and 1950s. Hers is a strong presence in the Requiem.

The Westminster Choir, like Tucker, recorded the Requiem later with Ormandy. This illustrious ensemble demonstrates all the power and virtuosity that Verdi demands from his chorus.

The audience noise is unfortunately audible throughout. However, it generally does not disturb the music itself. The recorded sound is dated but still quite adquate for the listener to appreciate this historic performance.

Great Voices in a Strong Performance.......2006-03-01

There are numerous recordings in all genre available for this superb example of operatic style church composition. I chose this particular CD for the vocal qualities of the male soloists. To hear the great Richard Tucker sing the main tenor aria is worth the price of the recording alone. What a powerful, masculine sound and such ringing top notes he brings to his performance. Frequently the bass soloists in the Requiem lack the rich, dark full throated timbre that Jerome Hines brings to this part.Tucker and Hines together, what a blessing.The soprano is Herva Nelli, the same soprano whom Toscanini chose for his concert version of Aida with Tucker in 1950 with the NBC Symphony and Robert Shaw Chorale. Nelli is an experienced Verdian soprano and does well in this recording.
Claramae Turner is the mezzo and she contributes a knowing stye and rich tone to the proceedings. Guido Cantelli brings life and plenty of dynamic contrasts to this older recording. There may be more solemn and retrospective Requiems out there but not many that are as exciting as is this one. I found the sound quite good if not quite up to our contemporary standards.
Dr. Joseph Perry, Beaver Falls

Verdi: Messa da Requiem; Quattro pezzi sacri

Average customer rating:

Verdi: Messa da Requiem; Quattro pezzi sacri

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

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Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B0000041UO
Release Date: 1990-10-25

Average customer rating:

Best recording of the most amazing piece of music.
O boy O boy O boy
Beautiful rendition of Verdi's greatest work.

Giuseppe Verdi: Messa da Requiem

Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B000005ECV
Release Date: 1994-08-23

Tracks:

Messa da requiem: N-1: Requiem
Messa da requiem: N-2: Dies irae
Messa da requiem: Tuba mirum
Messa da requiem: Mors stupebit
Messa da requiem: Liber scriptus
Messa da requiem: Quid sum miser
Messa da requiem: Rex tremendae
Messa da requiem: Recordare
Messa da requiem: Ingemisco
Messa da requiem: Confutatis
Messa da requiem: Lacrymosa

Tracks:

Messa da requiem: N-3: Offertorio
Messa da requiem: N-4: Sanctus
Messa da requiem: N-5: Agnus Dei
Messa da requiem: N-6: Lux aeterna
Messa da requiem: N-7: Libera me

Customer Reviews:

Best recording of the most amazing piece of music........2003-06-03

There are two versions of this exact same performance available. This set is priced currently at about 11 bucks more. The only real difference I can see between the two is the size of the booklet. In this set you see text translations, a breakdown of the work and some photos of the performance. Unless this is your first requiem recording or spend hours digesting info in the cd booklets, I would recommend getting the other version of the cd which has a black cover and is part of the Barenboim 50 years collection, and save some dough. Now, to the performance.

Wow! What a combinaton of talents, Barenboim, the Chicago Symphony Orchestra and Placido Domingo. What you will notice first on this recording is that Barenboim has used the perfect balance between orchestra and chorus. The orchestra has a marvelosly unifed sound as does the chorus who's diction speaks clearly and controlled. The Dies Irae and Tuba Mirum are absolutely perfect. Domingo soars on the Ingemisco with a beautifully rounded and mature voice, although this should not come as a surprise as he has established himself as one of the finest Verdi tenors in the history of music. Furlanetto has a very dark and dry bass voice that fits perfectly into Verdi's musical texture. Marc and Meier are also very capable soloists who were very appropriately cast for these roles. The sound on this recording is also top notch and lets you feel the beauty, the sorrow, and the rage. I don't know of any recording of the Verdi that even comes close to the attention to detail or the sheer power on this recording. If you own the Gergiev or Solti recording or the 2nd Solti recording, buy this and listen to what you've been missing. And, if you're worried that Barenboim might take the tempi too slow as he has been known to do, listen to a sample of the Dies Irae and let those worries vanish. Highly Recommended!

O boy O boy O boy.......2001-06-28

Alessandra Marc's voice makes me notice I have nerve endings in my tailbone: I don't know how many times I've played Libera Me and Agnus Dei now, but they still give me chills up the spine.

The work itself is grand: It's hard not to be aroused when "Dies Irae". The music sprints up that hill and rolls down on the pebbles on the other side. And over again.

These two polarities define the work in a way that appeals strongly to me: The calmly beautiful contrasted with the unrestrained power.

It is only a week since the radio assaulted my senses with this music, and already it threatens to replace Mozart's Requiem as my favourite classical work.

Beautiful rendition of Verdi's greatest work........2000-07-30

This is the best rendition of Verdi's Requiem that I have heard. All of the singers are amazing! I highly recommend getting this CD. I could not have been happier with it.

Average customer rating:

Indeed charmed.

Charmed with Verdi

Manufacturer: Winter & Winter
ProductGroup: Music
Binding: Audio CD

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Ah! Tu Dei Vivere
Vivra! Contende Il Giubilo A La Habanera
Aufforderung Zum Tanz
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Agnus Dei

Customer Reviews:

Indeed charmed........2003-10-07

This work exhibits an absolute appreciation of the moment and meaning of each verdi work. Featuring the adaptations of Fumio Yasuda, and expertly produced by Stefan Winter, this offering is both powerful and beautiful. Yasuda's touch and discernment make every phrase overwhelming and true.

Verdi: Te Deum/Messa Da Requiem/Nabucco/Luisa Miller/Hymn Of The Nations

Average customer rating:

Verdi Choral Spectacular Conducted By The Great Toscanini
hair-rising
Absolutely the best "Requiem" ever
Excellent! Terrific rendition of terrific music
Perhaps the classic performance of the "Requiem".

Verdi: Te Deum/Messa Da Requiem/Nabucco/Luisa Miller/Hymn Of The Nations

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B000003EXT
Release Date: 1991-07-01

Tracks:

Quattro pezzi sacri, Four Sacred Pieces, No. 4: Te Deum
Messa da requiem: Requiem & Kyrie
Dies irae
Dies Irae: Tuba mirum
Dies Irae: Mors stupebit
Dies Irae: Liber scriptus
Dies Irae: Quid sum miser
Dies Irae: Rex tremendae
Dies Irae: Recordare
Dies Irae: Ingemisco
Dies Irae: Confutatis
Dies Irae: Lacrymosa

Tracks:

Offertorio: Domine Jesu Christe
Offertorio: Hostias
Offertorio: Sanctus
Offertorio: Agnus Dei
Offertorio: Lux aeterna
Libera Me: Libera me, Domine
Libera Me: Dies irae
Libera Me: Libera me, Domine
Nabucco: Va, pensiero, sull'ali dorate
Luisa Miller: Quandro le sere al placido
Inno delle nazioni,Hymn of the Nations

Amazon.com

This has long been the standard by which other recordings of Verdi's Requiem are measured. Many others have better sound engineering, you may prefer a soloist or even the chorus (perhaps a later group trained by Robert Shaw) in one competing version or another, and it is quite possible to prefer the period-instrument sound of John Gardiner's taut interpretation. But no other conductor has matched the sheer intensity with which Arturo Toscanini translates the titanic and fearful vision of his friend Verdi into sound. This vision, which includes the end of the world, the dead rising from their graves and the assignment of each one either to heaven or to hell, is the climactic point of Verdi's epic style. The fillers are mostly interesting and inspiring, though Hymn of the Nations, a collage of national anthems, is one of Verdi's creative low points. --Joe McLellan

Customer Reviews:

Verdi Choral Spectacular Conducted By The Great Toscanini.......2005-11-07

This recording of Verdi choral masterpieces is conducted by Arturo Toscanini in his old age when he was a popular American figure in the NBC radio broadcasts. He still packs a punch and the quality of this recording is terrific. On here are Sacred Pieces for chorus & orchestra and the Te Deum, a fitting prelude to the more large-scale and famous Requiem. The singers are in glorious form and they were popular 50's opera stars - tenor Giuseppe Di Stefano, mezzo soprano Fedora Barbieri, baritone Cesare Siepi and soprano Herva Nelli. They make the music sound exceptionally bombastic and lyrical. The anthem-like Va Pensiero from Verdi's opera Nabucco is on here and is sung with sensational musicality. The tenor aria "Quando de sere al placido" is interpreted by Jan Peerce, whose ringing voice is shimmering with bravura but he pulls out all the stops for the Hymn of the Nations, a pastiche of nationalistic songs from the Italian national anthem to "The Star Spangled Banner". For fans of Verdi, this is a must have, especially because Hymn of the Nations is such a rarity.

hair-rising.......2002-02-03

I listened to some of this Verdi requiem and the paint started to peel off of the walls. This is absolutely stunning, to say the least, and no one has ever made it this way the was toscanini has. The man knew Verdi, and was probably the most respected Verdi conductor of his time, making this a classic of the gramophone, and deservedly so. It is fortunate this has been preserved. Cesare siepi is excellent as the bass soloist. fedora barbieri is always nice, and so is di stefano, though he it not the greatest in "ingemisco." the sound here is a bit constricted, preventing true pianissimo, which toscanini was definitely capable of producing. His thrilling fortissimos nearly break the equipment they are so strong. incredible stuff.

Absolutely the best "Requiem" ever.......2000-07-13

Never a favorite of mine on LP - the sound was too thin, harsh and compressed - this performance of Verdi's "Requiem," given to commemorate the 50th anniversary of the composer's death, speaks volumes for the Toscanini "legend." It is a performance that satisfies both the intellect and the emotions, despite the fact that the "Ingemisco" and the "Offertorio" are conducted faster than I have ever heard them...nothing sounds rushed, the singers are excellent, and the performance has perfect balance and cohesion.

However, I prefer the new 20-bit digital remastering to even this CD issue. To find my review there, enter "Arturo Toscanini" under Classical Music, scroll down the page, and click on "Conducts Verdi/Cherubini - Cho". This new reissue is coupled with Verdi's "Te Deum" and the Cherubini "Requiem," two great works which the maestro also conducts beautifully. This one isn't just an OK performance, it's a must for any collection.

Excellent! Terrific rendition of terrific music.......1998-09-11

I will admit to getting the CD just for the Requiem, of which it is one of the better recordings available, the Lacrymosa being especially good, if not perfect. Also, "Va, pensario" is one of the classic choruses of opera, and is well executed on this CD. With those, and the Te Deum, this CD is a goldmine for Verdi fans.

Perhaps the classic performance of the "Requiem"........1998-09-10

While Herva Nelli gives a more than credible performance, and Siepi demonstrates his potential greatness, this is, clearly, Toscanini's show. The NBC Orchestra is functioning on all cylinders, as is the Maestro. One can clearly hear Toscanini's exhortation(s): "Louder! Louder!" When the listener is aware of the fact that the Conductor was a close aquaintance of Verdi and, therefore, more than a mere casual interpreter of his work, the performance's meaning is enhanced.

Average customer rating:

Harnoncourt's Big Miss
Verdi Requiem played like precious jewels
Just okay, not a fav shelf keeper - Pale in comparison to Ormandy
A good, somewhat reserved, reading free of personal affectation
Verdi's Requiem

Verdi: Messa da Requiem [Hybrid SACD]

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Mozart: Requiem in D Minor, K. 626 [Hybrid SACD with CD-ROM track of Mozart's Original Manuscript]

ASIN: B0009U55PG
Release Date: 2005-08-30

Tracks:

Requiem; No. 1 Requiem (e Kyrie); Requiem aeternam
Requiem; No. 2 Dies irae; Dies irae
Requiem; No. 2 Dies irae; Tuba mirum
Requiem; No. 2 Dies irae; Liber scriptus
Requiem; No. 2 Dies irae; Quid sum miser
Requiem; No. 2 Dies irae; Rex tremendae
Requiem; No. 2 Dies irae; Recordare
Requiem; No. 2 Dies irae; Ingemisco tamquam
Requiem; No. 2 Dies irae; Confutatis maledictis
Requiem; No. 2 Dies irae; Lacrimosa
Requiem; No. 3 Offertorio; Domine Jesu
Requiem; No. 3 Offertorio; Hostias
Requiem; No. 4 Sanctus; Sanctus
Requiem; No. 5 Agnus Dei; Agnus Dei
Requiem; No. 6 Lux aeterna; Lux Aeterna
Requiem; No. 7 Libera me; Libera me
Requiem; No. 7 Libera me; Dies irae
Requiem; No. 7 Libera me; Libera me

Amazon.com

Harnoncourt's Verdi Requiem stresses the "spiritual" aspects of the work and downplays its theatrical elements. He's aided by the wonderful playing and singing of the Vienna Philharmonic and the Arnold Schoenberg Choir. Both give Harnoncourt precisely what he wants. It's doubtful though that what results in a recording competitive with the best. Pacing is agonizingly slow, without the rhythmic life that allows other versions that stress the score's religious aspects (Guilini for EMI and BBC, Fricsay for DG) to retain their classic status. The slow tempos do allow Harnoncourt to explore details often overlooked by others, so the huge outbursts of the "Dies Irae" section have the kind of precise articulation and carefully observed instrumental details rarely heard. But the slow speeds also come at the cost of pushing his miscast, light-voiced solo quartet far beyond their limits. Their singing is full of carefully refined tonal shadings that seem out of place in this work, as well as afflicted by intrusive vibratos. Verdi completists and the curious will want this; others will be content with such longtime favorites as the Giulini, Solti (Decca), and Toscanini (RCA) versions. --Dan Davis

Customer Reviews:

Harnoncourt's Big Miss.......2007-06-15

The stars of this show are the Vienna Philarmonic and the Arnold Schoenberg Chor. The singers are miscast, their voices being too light for their parts. The worst is Eva Mei, who sounds shrill and tremulous when not singing pianissimo. Despite the claim in the back cover, this is no more "deeply religious" than any of the other Verdi Requiem recordings available. A disappointment on almost every count, orchestra and chorus excepted.

Verdi Requiem played like precious jewels.......2006-07-09

I just heard this much-maligned recording of the Verdi Requiem and must respectfully disagree with the overall negative feedback.

I found this new recording of the Verdi Requiem to be a very enjoyable listening experience.

While it is true that the soloists are not blow-down-the-walls vocal battleships, they are anything but inadequate. It is actually quite refreshing to be able to hear the notes without putting up with the schmaltz and theatrics which you hear from, e.g, Renee Fleming and Leontyne Price.

Eva Mei, soprano, has been singled out for special criticsm by the likes of Gramophone Magazine. But I found her voice to be a real pleasure to hear. Her register changes are not so stomach-wrenching like Price's.

I was especially happy to finally hear the Arnold Schoenberg Choir; I was quite pleased. Despite their name, they sound fine with Verdi: balance and ensemble work were all top-notch.

Harnoncourt and the Vienna Philharmonic may sound like a classical "Odd Couple," but they make wonderful music together in this recording.

This is not a "fast" performance, but I don't agree it is overly slow as some suggest. FYI, the Riccardo Muti CD is actually a few seconds longer than Harnoncourt's. I liked the slower tempo of the Dies Irae; I don't think it took away anything of the drama of the music.

My only criticism are the rather bizarre liner notes. They appear to have been written by an anti-religion social activist ranting about WMDs and globalisation, and who regards Verdi's Requiem as a denunciation of the evils of humanity. Very weird.

Engineering sound was very good. Packaging is compact. Texts and translations included.

Just okay, not a fav shelf keeper - Pale in comparison to Ormandy.......2006-07-03

Having listened to this sacd version of the Verdi Requiem for a while, I finally decided it was not a keeper. So I guess I hear and weigh things differently from some of the other posting reviewers. I took trade credit when this set wore through for me.

Let's start with what works well in this set. First off, the sacd sound is an enhancement. If ever classical repertoire could benefit from multi-channel surround sound, we should certainly have the Verdi Requiem on our demo lists. It is not just the vivid brass choirs, sounding the Last Judgment from the four corners of the trembling earth, it is the sheer panoply of the work that more than fills five hifi channels in a home theater system. So far, then, the surround competition only includes two other performances, a newish one by Marcus Bosch and the Aachen Symphony plus cast on Coviello, and a vivid DVD audio of the Gergiev/Kirov performance, flawed by Andrea Bocelli's occasional pop phrasing.

Perhaps the best sacd version of them all so far that I have kept in my fav shelves is (in my opinion) the remastered Ormandy/Philadelphia version on sacd-only stereo Sony.

Despite its age (1964), and despite having only two channels to present, this recording now achieves something like historic status as an example of how good stereo master tapes from the stereo golden age could be, though we never heard everything before. Thanks to the exemplary stereo engineering, the sound stage of this older master tape is now incredibly accurate, full-range, and present. One hears, not only each and every player/singer, individually, small group sectioned, and massed in very large forces, one also hears the resonance of the venue. None of this detail is forced, artificial, or in any way a detraction from the music. Yes, Ormandy can be faulted, maybe, for being rather direct in his Verdi; but that wears deep and well on repeated hearings, and he is never uninvolved or mauling the phrase with applications of musical ego, strong-armed into Verdi from outside the musical drama. The four soloists would have been rather regarded as very solid, but not especially flashy, Verdi singers in their day. Richard Tucker helped hold down the Verdi wing at the New York Met, and ditto for bass-baritone George London (who also sang great Wagner Wotan's). Canada's blessedly rich and intelligent Maureen Forrester certainly had all that the requiem demands. The USA's Lucine Amara would have been considered just a tad light in voice for the customary heft, and soaring soprano drama of her part.

Not to worry. What no matter how any individual solo voice might have raised minor questions on its own, the four together are simply superb. In retrospect, and rather triumphing in comparison to what is supposed to pass for an archetypal Verdi voice in the Hanoncourt set, these folks are gorgeous. And so in tune with one another as a quartet.

My praise of Ormandy's golden age soloists suggests what I hear missing from Harnoncourt. That is, the soloists. Like Harnoncourt's Verdi Aida, he seems here to be trying to make some renewal point by using lighter voices. Gardiner did something like that in his set without choosing at all badly. But whereas we can count Gardiner's soloists as beautiful and successful, alone and together, I cannot agree for the Harnoncourt foursome. I write this, acknowledging that I cherish Michael Schade in other performances on other recordings. Ditto, for Mei, Fink, and D'Arcangelo. Nor are the somewhat lighter voices used in the Gergiev DVD audio version - except for Bocelli in passing passages, who does well in other passages - lacking.

The other fault, perhaps, in the set is Harnoncourt's leadership and vision. He can take a slow tempo, but it achieves flowing forward movement at the expense of that rock solid understructure in slow tempos that we can hear in the likes of Otto Klemperer, Kurt Sanderling, or even Ormandy. We have no Bruno Walter recording of the Verdi Requiem, but Harnoncourt is no match for the Bruno Walter combination of flexibe phrasing and rock of Gibraltar basic tempo, in any case.

Avoid this set, unless you swoon at the mention of Harnoncourt's name. He does not do all that badly here, except when you stop to listen again to all the other recordings which have done so much better in so many different ways. Gergiev, in multichannel dvd audio, even has something to offer in fire and drama and lyrical lift that Harnoncourt lacks. And for sacd classic-historic, unicorn-fabulous recreation, the remastered stereo sacd Ormandy/Philadelphia will make your ears sizzle while your heart sings and your embodied soul prays. Purchase at your own risk, then, and consider your other options. Three sacd stars - for sound, mainly, and in continuing affection to Vienna.

A good, somewhat reserved, reading free of personal affectation.......2006-03-16

Harnoncourt's version of Verdi's religious operetta was recorded in concert in the Musikverein in late 2004. The recording carries the label of hybrid SACD in surround sound. The publicity on the back cover indicates the version uses a new edition that projects the spiritual, not operatic, qualities of the music.

I am not so certain about either of the latter statements above. It seems to me Harnoncourt merely starts slowly and does not project the kind of demonic end of world quality in the Dies Irae that Solti and other more hot-blooded conductors bring to the music. Otherwise, this seems like a straightforward reading that is neither operatic nor spiritual.

For me, the best part of this is the singing by the vocal quartet. This begins in the latter sections of the Dies Irae and continues through the second half. Each soloist is wonderfully captured by the clear recording, with exceptional elocution.

I enjoyed the singing throughout almost as much as I enjoyed Harnoncourt eschewing personal affectation from the recording. Anyone that's heard a half-dozen recordings by this conductor knows he goes in for italicized accents, weird tenuto and other devices that seem to break up the melodic flow for no good reason. Fortunately, Harnoncourt withheld this completely throughout this concert recording.

The SACD recording is clear and captures even the biggest moments with clarity, projection and without congestion or dissonance. I played this on my 5.1 SACD player and system, where the playback was in stereo only. This leads me to believe this is a stereo recording, not true multichannel. It played fine and sounded good in stereo reproduction on my five channel system.

Having said this, it is my opinion this version does not compete very well with the SACD recording of Ormandy's 1964 performance, however. Ormandy's 83-minute performance also has the advantage of being on a single disk, making this one twice as expensive while being less good.

All things considered, this is a good if somewhat reserved performance of the Requiem. Compared to other stereo versions I've owned and heard -- led by Ormandy, Muti, Abbado, Giulini and Gardiner -- this can be a contender for people that aren't interested in the hysterical end of world approach.

Verdi's Requiem.......2006-02-17

Nikolaus Harnoncourt surprised me by creating another pleasurable and memorable rendition of Giuseppe Verdi's requiem that I have heard. The Wiener Philharmoniker and Schoenberg Choir sound so heavenly every time I listen to their enchanting performances. The soloists Schade, D'Arcangelo, Fink, & Mei are incredible when they sing their hearts out in this one. For the requiem itself, each segment in these two CD's are something worthwhile. The "Dies Irae" has never sounded this fantastic since the release of the Muti, Solti, and Tabakov releases, thanks to the overwhelmingly clear Hybrid sound quality. Tuba Mirum and Rex Tremendae are exquisite in power and precision, while Recordare, Ingemisco, Quid sum miser, and Lacrymosa have a smooth and tranquil pace. The four soloists are at their supreme in the Offertorio, fulfilling every note with passion and elegance. The Libera Me is the most emotional yet, thanks to Mei's lovely articulations and the choir's gorgeous sensation in presentation.

Harnoncourt joins in with Muti, Solti, and Tabakov into creating another celestial rendition of Verdi's operatic elegy. Clearly the conductor has discovered the many details in this piece that has been overshadowed by other conductors' faster tempi. This gem is an absolute steal for those who are either a big fan of church music or a Verdi purist who needs just one more CD to complete his collection.

Verdi - Messa da Requiem / Gheorghiu · Barcellona · Alagna · Konstantinov · Berliner Philharmoniker · Abbado

Average customer rating:

It "grew" on me.
A superb recording of Verdi's Requiem
Wonderful live recording
The Best Verdi Requiem recording
A "Regular People" Review

Verdi - Messa da Requiem / Gheorghiu · Barcellona · Alagna · Konstantinov · Berliner Philharmoniker · Abbado
Giuseppe Verdi , Claudio Abbado , Angela Gheorghiu , Roberto Alagna , and Daniela Barcellona
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music
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Russian Album

ASIN: B00005MG6F
Release Date: 2001-11-20

Tracks:

Requiem E Kyrie: Requiem Aeternam
Requiem E Kyrie: Kyrie Eleison
Sequenza: Dies Irae
Sequenza: Tuba Mirum
Sequenza: Mors Stupebit
Sequenza: Liber Scriptus - Dies Irae
Sequenza: Quid Sum Miser
Sequenza: Rex Tremendae
Sequenza: Recordare
Sequenza: Ingemisco
Sequenza: Confutatis - Dies Irae
Sequenza: Lacrymosa

Tracks:

Offertorio: Domine Jesu Christe
Offertorio: Hostias
Sanctus
Agnus Dei
Lux Aeterna
Libera Me: Libera Me, Domine
Libera Me: Dies Irae
Libera Me: Requiem Aeternam
Libera Me: Libera Me, Domine

Amazon.com

Verdi's Requiem--certainly one of his most moving, eloquent masterpieces--was written in honor of the great Italian poet Alessandro Manzoni, whom he admired enormously both for his writings and his political outlook. Though its text is the Latin liturgy, it has been called Verdi's greatest opera because of its basically dramatic character, as well as his own ambivalent attitude toward organized religion. Thus, interpretations tend to emphasize its secular or its sacred aspect, though, naturally, the soloists are trained in the Verdi opera tradition.

For example, Toscanini's legendary performance, recorded live at Carnegie Hall in 1951, takes exactly the opposite approach to this version. Inwardly expressive, noble, devout, pleading, prayerful, yet with plenty of dramatic intensity, the Toscanini encompasses every human emotion and offers a synthesis of Verdi's vision of the earthly and the sublime. The performers on this recording, captured live on the 100th anniversary of Verdi's death, take the theatrical view. The soloists swoop and slide, sob and sigh, and overdramatize the fear and trembling. Tenor Roberto Alagna belts out his part in the best operatic style, the bass sounds rough, the alto's vibrato wobbles, but soprano Angela Gheorghiu soars radiantly. The choruses are good, the orchestra is wonderful, but the dynamic contrasts go from inaudible to ear-splitting. --Edith Eisler

Customer Reviews:

It "grew" on me........2007-07-06

I bought this CD mostly because I heard a few Arias sung by Ms. Gheorghiu and liked her singing enough that I thought I'd give this work a try. This piece is well performed however, it goes from soft to loud and startled me a few times so it can be a little strange adjusting the volume to compensate. As for Ms. Gheorghiu, I wasn't sure what to think of her voice at first in this because I am newer to this genre (I'm a heavy metal "convert") but hey, I'm trying! Anyway, her voice and the music has grown on me and I think she "plays the part well." This composition is not meant to be used in a liturgy...not ever!...and I don't know what Verdi's ideal performance of this would be, but I say she fits the part because the Requiem Mass this is based off of is actually a Mass offered for the holy souls in purgarty that they may have repose into heaven. So, I'd say her darker voice is perhaps the perfect way to express a soul praying to be "liberated."

A superb recording of Verdi's Requiem.......2007-06-19

Verdi's Requiem is one of my favorite pieces from the great Italian maestro. Although it was written in the structure of a Requiem mass, I think that Verdi's composition allowed his dramatic, operatic element to seep into its musical backbone. Many recordings of Verdi's requiem feature conductors who either highlight its spiritual qualities or its operatic qualities, but very few of them are able to coalesce these two in one successful interpretation. I usually like to recommend Solti's recording for its drive, Karajan's Berlin recording for its unnatural, gracefuly beauty, Muti's recording for its energy, Giulini's BBC recording for its spiritual quality, and Toscanini's for its so-called Verdian spirit. All of those Requiems are magnificent, but I would highly recommend this recording for its ability to combine a bit of everything into an interpretation that wins this listener into believing that it is the best Verdi requiem...ever. Abbado was known in his prime as one of the greatest Verdi conductors, and for the kind of musicality and elegance he brings to the score. From him was I able to hear the best Simon Boccanegra, Macbeth, Don Carlo, Aida, Un Ballo, and Falstaff. From this 2001 recording, we also have perhaps the most compelling recording of the maestro's Requiem we will ever hear in this lifetime. This recording has it all--the gravitas, the spiritual abandon, the despondence, the reverence, and the hope that a requiem mass would require for all its resounding themes of death. The Requiem that begins the piece is dealt with the kind of clean execution that the Berlin Philharmonic could only execute, and Abbado does this with an Italianate colour that you will never find in Karajan's recording with the same orchestra. The Dies Irae section is played with such virtuosity and ferocity that you'd almost feel like Solti's recording paled in comparison with the precise articulation of the Berliners. The Liber Scriptus, Recordare, and the Lacrymosa have never been played more beautifully in any other recording. In the Hostias, Abbado is able to imbue an Italianate grace into the music with the shimmering strings of the Berlin forces. It is an experience that every music lover must be able to experience. The Sanctus is played with a waltzy playfulness, while the Agnus Dei and the Lux Aeterna are given a sense of Spiritual longing and hope that gives the piece a most rewarding near-ending before the great Libera Me. The glorious Libera Me that ends this masterpiece has been conducted in the hands of Austrians and Prussians who give it a more Beethoven-like treatment or a Wagnerian drive that does not fit the musical writing, but Abbado gives us exactly what Verdi would probably have wanted, and gives the listener an unforgettable musical experience. This is Verdian conducting at its finest, and with such a great orchestra plus a collaboration of tonally and musically excellent choruses like the Swedish Radio Choruses and the Eric Ericson Chamber choir make this one of the most outstanding orchestral and choral collaborations.

The soloists are perhaps one of the most commendable quartet of singers ever to have sung the parts. Roberto Alagna sings the tenor solos with the grace and fluency that typifies this great artist, whereas the bass Julian Konstantinov gives the music the gravitas recalling Nicolai Ghiaurov. Listen to the Confutatis and you'll know what I mean. Daniela Barcellona is an excellent mezzo, and although I still think Bumbry, Simionato, Ludwig, and Cossotto give more unforgettable readings of the alto parts like the Lacrymosa, Agnus Dei, and the Lux Aeterna, Barcellona more than holds up to these great names. I think her timbre is absolutely breathtaking and reverent, if one can describe it as such. Finally, there is Angela Gheorghiu, one of the best sopranos to sing the glorious solo parts. Gheorghiu is known as one of the best vocal painters due to the way she shades her voice in just about everything she sings. Has there ever been a better Libera Me? In my opinion, despite the fact that Freni, Scotto, and Tebaldi were more vocally endowed, no other soprano has made the Libera Me such a spiritually lifting experience. Five stars from this listener, and I hope that all of you will be encouraged to buy this great Requiem!

Wonderful live recording.......2007-05-09

Gheorghiu is luscious in looks as well as voice and dramatic interpretation. Barcellona and Alagna do fine jobs and Abbado is a master at bringing out Verdi's nuances. Highly recommended.

The Best Verdi Requiem recording.......2007-02-10

If you like your Verdi to jump from whispers to booming drums, you will love this version of the Verdi Requiem. It has the liveliness I've come to enjoy in this masterpiece. In previewing various versions on Amazon, others sounded tame by comparison. And, this one is offered for an excellent price.

A "Regular People" Review.......2006-12-06

This disk is a for sure favorite that anyone will love, don't typically listen to classical?...Who cares, this is a great introduction to Verdi (at least I think so anyway) and can convert you to Classical music (and OPERA!). NEOPHYTES apply here! No experience neccessary...and keep me updated!

Average customer rating:

Baltsa and Tomowa-Sintow shine; best Libera Me I've ever heard
The best perfomance
Breathtaking performance!

Verdi: Messa da Requiem

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
ASIN: B000001GKA
Release Date: 1996-07-23

Tracks:

Messa da requiem: 1. Requiem
Messa da requiem: 2. Dies Irae: Dies irae
Messa da requiem: 2. Dies Irae: Tuba mirum
Messa da requiem: 2. Dies Irae: Liber scriptus
Messa da requiem: 2. Dies Irae: Quid sum miser
Messa da requiem: 2. Dies Irae: Rex tremendae
Messa da requiem: 2. Dies Irae: Recordare
Messa da requiem: 2. Dies Irae: Ingemisco
Messa da requiem: 2. Dies Irae: Confutatis
Messa da requiem: 2. Dies Irae: Lacrymosa

Tracks:

Messa da requiem: 3. Offertorio
Messa da requiem: 4. Sanctus
Messa da requiem: 5. Agnus dei
Messa da requiem: 6. Lux aeterna
Messa da requiem: 7. Libera me

Customer Reviews:

Baltsa and Tomowa-Sintow shine; best Libera Me I've ever heard.......2007-04-07

For some reason, mezzo soloists never seem to be very memorable to me in performances of the Verdi Requiem. Despite the generous amount of air time, they just never seem to make an impression on me.

Not any more. I was simply blown away by Agnes Baltsa. She has a sound that can pierce through the thickest orchestral layers and knock you over with tremendous power.

The first time I heard Anna Tomowa-Sintow was in a televised production of Andrea Chenier, and I'd been a fan ever since. So it was a real delight for me to hear her in this choral warhorse. I was not disappointed. Her rendition of the final Libera Me movement is definitely one of my all-around favorites.

In fact, I found the entire Libera Me sequence totally unforgettable. Everything was memorable to me: the engineered sound, the overwhelming choral fugue, the immense power of the orchestra, and, of course, Anna Tomowa-Sintow.

The engineered sound is quite good as other reviewers have noted. However, I personally found the earlier Karajan CD (with Freni and Ludwig) to be more compelling. This album had some really quirky details. For instance, in the big Dies Irae, I consistently heard this annoying trumpet trill. It's in the score, but no other CD I'd ever heard amplified it quite this much. Same thing for the violin triplets at the end of the Liber Scriptus (just before the chorus re-enters).

The chorus is a combined group from the Vienna State Opera and the Sofia National Opera, and their wonderful talents are put to maximum use. Karajan performs the two choral fugues a bit slower than other conductors, but that just gives you a better chance to appreciate the fine detail work of the singers.

I loved Jose Carreras in both this CD and his later version with Claudio Abbado. But I thought he tended to get a bit too "dramatic" in Ingemisco. I thought his version with Abbado was a bit cleaner.

At 86 1/2" spread over two full-priced discs, this isn't a particularly economical buy. Maybe it will be re-issued later with filler (like the earlier version with Freni and Ludwig).

Five stars for the powerful soprano and mezzo soloists, the masterful work of the chorus and orchestra, and the fabulous engineered sound.

The best perfomance.......2007-02-26

There are many top versions of Verdi's requiem in the market. If I had to choose one that this would be it. The perfomance is superb and ouy rarely mind so much talent together. The names speak for themselves:
Herbet von Karajan, Agnes Baltsa, Jose Carreras, Jose Van Dam, Anna Tomowa-Sintow. Buy it and enjoy it.

Breathtaking performance!.......2005-11-09

This is undoubtedly one of the most spectacular of Verdi's Messa da Requiem recordings. The soloists are also exquisite. Only comparable to Georg Solti's recording. Very beautiful.

Track Listings:

Track Listings

track listings

Track Listings

Marbles [Extra tracks] [Import]

Piano Concertos of the Twenties

Presumed Innocent

Hanky Panky

Jeff Coffey [Enhanced]

Mission Still Possible

Negrito Del Sabor [Import]

Los 100 Mejores Chistes de Mexico, Vol. 2

Reflections

Jazz Music jazz-music-10