33. Verdi's Messa da Requiem
Price, Cossotto, Pavarotti, Ghiaurov with Karajan conducting the La Scala Opera Orchestra and Chorus, Milan
The number 33 entry in our survey of the top 50 classical recordings of all-time is a DVD video recording made by Deutsche Grammophon in 1967 of Giuseppe Verdi’s Messa da Requiem, featuring a “dream” cast of four of the greatest soloists in the prime of their young careers: soprano Leontyne Price, mezzo-soprano Fiorenza Cossotto, tenor Luciano Pavarotti, and bass Nicolai Ghiaurov. The conductor is the legendary Herbert von Karajan, and he is leading the Orchestra and Chorus of the Theatre della Scala Opera House in Milan. The DVD film was directed by Henri-Georges Clouzot, and the performance was filmed live in an empty La Scala Opera House. The filmed performance was made two days prior to the first concert to commemorate the tenth anniversary of the death of the great Italian maestro Arturo Toscanini. There is an audio CD recording of that first concert performance with the same performers a few days later, but it is sadly in much inferior sound. So we are left with the DVD, which is an historic landmark in classical music. This is a performance for the ages. Incidentally, today I was able to find the entire performance on YouTube to stream.
Verdi’s Requiem just may be my personal favorite choral piece of music ever composed, and it is an ever popular and much performed work. Even though it is set to the Roman Catholic Requiem Mass, Verdi’s version is really more dramatic than liturgical, and perhaps even more operatic than devotional. Nevertheless, Verdi’s Requiem has an appeal which transcends classical music, and in my own view is one of the greatest pieces of music ever composed.
The Composer
Giuseppe Verdi was born in 1813 in Le Roncole, Italy and died in 1901 in Milan, Italy. One of the greatest opera composers ever, Verdi perfected Italian opera, taking the genre to new heights dramatically and musically. Considered among the greats in opera alongside Mozart, Wagner, and Puccini, Verdi lives on in the many performances of his greatest works including: Rigoletto, La Traviata, Il Trovatore, Aida, Otello, Falstaff, and his Messa da Requiem.
Verdi showed early musical talent on the piano, and by the age of 15 had already begun composing. After the Milan Conservatory turned him away, he studied privately with several well-known teachers. In 1839, after moving full-time to Milan, he composed his first opera Oberto. Oberto was a success, but his second effort, Un giorno di regno, was a failure. Worse yet, after losing his two children in previous years, his wife died leaving Verdi alone and depressed. In the immediate years after his wife’s death, Verdi attempted to rebound with the operas Nabucco, I Lombardi, Macbeth, and Luisa Miller in a series of mostly successful productions.
In the period 1851 through 1853, Verdi wrote three of his most popular operas, Il Trovatore, La Traviata, and Rigoletto. Although Il Trovatore and Rigoletto were immediate successes, La Traviata was not well-received initially. After some revisions, it too became a great success. For a time Verdi was involved in politics, and this became evident in his next works, Simon Boccanegra and Un Ballo in Maschera. By now well established as one of the greatest composers of his time, the public eagerly awaited his new works. In the 1860s, Verdi composed La forza del destino and Don Carlos, both premiered in St. Petersburg.
Verdi moved permanently to Genoa, Italy and composed Aida in 1870, which was a success. But the composer gave up opera for a period of time thereafter, composing his String Quartet and Messa da Requiem in the 1870s. After a long opera gap, he turned out another opera in Otello in 1886 and then his final opera Falstaff in 1893. Falstaff, a bold and creative comic opera, became one of his greatest triumphs. In his final years, Verdi founded a hospital and a home for retired musicians. He retired to live at the Grand Hotel in Milan, composing his final work Quatro pezzi sacri (Four Sacred Pieces) published in 1897.
Messa da Requiem
Verdi’s Requiem grew from a project to commemorate the death of the great Italian composer Gioachino Rossini (b. 1792 - d. 1868). You may know Rossini as the composer of such well-known operas as Il Barbiere di Siviglia (The Barber of Seville), La Cenerentola (Cinderella), and Guillaume Tell (William Tell). The plan was to invite all of the noted composers of the day to each compose a movement to unite into one great Requiem Mass that would be performed on November 13th, 1869 in Bologna (where Rossini had grown up). Verdi wrote, “Rossini’s reputation was the most widespread and the most popular of our time, it was one of the glories of Italy.”
The plan fell through unfortunately. The authorities in Bologna did not cooperate, and the singers and musicians refused to perform without being paid. Verdi had already composed the final movement of the Mass, the Libera Me, which he was forced to set aside. Verdi turned his attention to work on the next opera he was composing, which was Aida.
In 1873, the famous Italian novelist Alessandro Manzoni died. As much as Verdi lamented the death of Rossini, he was even more moved by the death of Manzoni. Manzoni had written one of the greatest novels in the Italian language, I Promessi Sposi (In English, The Betrothed), which Verdi revered. The news of his death was a huge blow. Verdi said upon hearing of his death, “Now all is over, and with him ends the purest, holiest title to our fame.” He told Ricordi, his publisher, “I could not bear to be present at the funeral, I shall come later to find the grave, alone and unseen. I may have a proposal to make to you as to how his memory should be honored.”
Verdi wrote to the mayor of Milan offering to compose a Requiem Mass for the anniversary of Manzoni’s death. “It is a heartfelt impulse, or rather a crying need, to do all in my power to honor this great spirit whom I valued so highly as a writer and I honored so sincerely as a man - the true pattern of patriotic virtue.” Thus the Libera me written for Rossini became the final section of what became known as the world-famous Manzoni Requiem also known as Verdi’s Requiem. The first performance took place on May 22, 1874 in the Church of San Marco in Milan, with Verdi conducting an orchestra of 100 and a chorus of 120. Three more performances were given at La Scala Theatre, and then Verdi took the work on a tour of Paris, London, and Vienna. It was received exuberantly, with audiences frequently demanding that certain movements be played again as encores.
Verdi was not a particularly religious man, and thus his Requiem was not written for liturgical use but is rather meant as a concert work. Verdi mostly ignored the prevailing Catholic musical idiom of the day, and imbued his work with theatricality based on images and beliefs contained in the text. He portrays the Requiem with an unashamedly emotional character, and thus gave rise to the claim that it is more operatic than pious. Verdi confronts death both as an object of terror, as well as the ultimate liberator and comforter. His Requiem exploits the universal human emotions elicited by death, rather than merely reciting the text in a liturgical manner. Thus it is a work of immense spirituality and prayer, and drives directly to the heart of our mortality. It is perhaps not surprising that Verdi, the greatest Italian opera composer ever, would write a Requiem full of drama and full of typical Italianate opera features.
The sections of the Requiem Mass as Verdi wrote them are included as follows:
I. REQUIEM & KYRIE (Chorus and Soloists)
II. DIES IRAE
a. Dies irae, dies illa (Chorus)
b. Tuba mirum spargens sonum (Bass, Chorus)
c. Liber scriptus proferetur (Mezzo-soprano, Chorus)
d. Quid sum miser (Mezzo-soprano, soprano, tenor)
e. Rex tremendae majestatis (Chorus, Soloists)
f. Recordare, Jesu pie (Mezzo-soprano, soprano)
g. Ingemisco tamquam reus (Tenor)
h. Confutatis maledictis (Bass, Chorus)
i. Lacrymosa dies illa (Soloists, Chorus)
III. OFFERTORIO (Soloists)
IV. SANCTUS (Chorus)
V. AGNUS DEI (Soprano, Mezzo-soprano, Chorus)
VI. LUX AETERNA (Mezzo-soprano, Tenor, Bass)
VII. LIBERA ME (Soprano, Chorus)
The entire work evolves in a giant panorama of sound and voice, and while never losing its connection to the Latin liturgical text, it is certainly more evocative of opera. In the solo sections of the Recordare, Ingemisco, Confutatis, and Hostias what we hear are essentially solo arias similar to what you might hear in a Verdi opera. However, the way Verdi weaves it all together in a continuous drama that builds into a larger tableaux is genius.
The soloists’ parts are difficult in themselves, but how the soloists blend together is also essential to the success of any Requiem performance. The nuances of harmonic, orchestra, and vocal timbre seem endless, and to keep it all together is no small feat. The weight and drama of the music and the direct emotion it brings surpass any other Requiem you might hear.
The beginning Requiem and Kyrie set the tone, and must be pulled off with the greatest of subtlety and piety until the tenor enters with the Kyrie, followed by the other soloists. If the tenor at the beginning, in a very exposed solo part, doesn’t pull it off well, for me it can negatively affect the entire performance.
Perhaps the most well-known of the sections of Verdi’s Requiem is the Dies Irae. It explodes off the page in an orchestral and choral blast that has no rival in classical music in terms of sheer volume and sound. The Latin text translates to:
“The day of wrath, that day will dissolve the world in ashes, as David prophesied with the Sibyl. How great a terror there will be when the judge shall come who will thresh out everything thoroughly.”
Truly scary. The music indeed carries with it terror by way of trumpet blasts and perfectly timed thwacks on the bass drum (one of the most identifiable parts of it) which could literally wake the dead at the last judgement. This is one of the most dramatic sequences in all of music.
Many listeners will judge a performance of Verdi’s Requiem on the soprano part, and in particular the Libera me, which constitutes the final 12-15 minutes of the work. This section contains some of the most fiendishly difficult notes for sopranos, in a part that also demands tremendous range for both higher and lower notes. What is more, the soprano must bring the entire drama to a head with singing that reflects the terrifying text:
“Deliver me, O Lord, from eternal death on that awful day when the heavens and earth shall be moved: when Thou shalt come to judge the world by fire. I am seized with trembling and I fear the time when the trial shall approach, and the wrath to come; when the heavens and earth shall be moved.”
Verdi uses contrast so well throughout his Requiem, using different chromatic techniques both orchestrally and chorally. There is a particular thrust evident that comes and goes in different parts. There is violence alongside plaintive solo parts, thunder along with the calm after the storm. In the end, it is a tremendous vision and can leave the listener feeling terrified and exhausted, but also in awe.
The Recording
While I don’t believe in “perfect” recordings of any work, there are those that come closer to the full vision intended by the composer. In the case of Verdi’s Requiem, I have yet to hear an audio only recording that would make it into our top 50 recordings list. There are certainly several contenders, as discussed below under recommended recordings.
But for me, all recordings of Verdi’s Requiem pale in comparison to the recording I have chosen for our top 50 list: Herbert von Karajan conducting the La Scala Opera Orchestra and Chorus with Leontyne Price, Fiorenza Cossotto, Luciano Pavarotti, and Nicolai Ghiaurov recorded in 1967 by Deutsche Grammophon and filmed by Henri-Georges Clouzot. Sadly never released on CD (except in very poor sound), this DVD preserves what is the very best recording of Verdi’s Requiem ever made.
The qualities that make this performance great include:
THE greatest Verdi soprano ever in Leontyne Price at the apex of her career, with a voice that is stunning, seemingly effortless, incredibly beautiful, and with tremendous range. Price’s voice also had a smoky quality to it, which only made it better for Verdi. Price recorded the Requiem other times to great acclaim (for Fritz Reiner in 1960 for Decca, and for Georg Solti in 1977 for RCA), but in 1967 her voice was more dramatic than 1960 and still before she began “swooping” some notes as she would later for Solti. She possessed a once-in-a-lifetime voice and you could argue Price was the greatest soprano of the 20th century. The Requiem was made for her voice, she cuts through the orchestra in a thrilling way and if she overshadows the other soloists a bit, that is only appropriate for Verdi and if anyone deserved the title of a true “diva”, it was Leontyne Price. After hearing her in the Requiem, all other sopranos are a bit of a letdown.
Then there is the great Pavarotti, heard on this recording when he was in his 30s, and only two years after his first appearance on a major opera stage. Eventually to become one of the most beloved tenors of all-time, Pavarotti appears here as a last-minute replacement. The voice of the young and beardless Pavarotti is thrillingly clear and ringing, and you can certainly hear why he would go on to tremendous fame. The uniqueness of his voice, along with his ability to bring that special “Italianate” quality to his singing, makes his contribution here invaluable. It is a plus that the young Pavarotti in 1967 had less of the mannerisms that would characterize his later singing. The tenor part is particularly challenging, and you can see in the video Pavarotti still uses the music in front of him (while the two female voices don’t need the music for their parts). But his Ingemisco and Hostias are delivered with the exact amount of power and also softer middle-voice when needed. His voice blends perfectly in my opinion, and he knows when to push and when to back off. Pavarotti would later appear on other recordings of Verdi’s Requiem with Georg Solti and Joan Sutherland in 1967 on Decca, and again later with Riccardo Muti in 1987 from La Scala once again on EMI. Not surprisingly, on the 1967 recording Pavarotti sounds quite similar to this Karajan video, although the 1987 recording with Muti has other flaws and is not on the same level.
The mezzo-soprano Fiorenza Cossotto is simply brilliant in her role, and remains my favorite mezzo on any Requiem. While she had the ability on this recording to scale the heights with her voice, she also showed her full middle and lower registers. The quality of her voice was also distinct enough from Leontyne Price’s voice that when the two blend in the Agnus Dei, they perfectly complement each other. Also in her early 30s at the time of this recording, Cossotto had a great career in opera that would include singing alongside Maria Callas, Joan Sutherland, Montserrat Caballe, and of course Leontyne Price. She even sang several soprano roles in her career, such was her range and vocal control. Cossotto was known for her brilliant technique and perfect pitch. In her performance on this recording, especially in the Liber scriptus, Quid sum miser, and the Recordare Cossotto is every bit as impressive as the other soloists.
Finally, the Bulgarian bass Nicolai Ghiaurov rounds out the unbelievable cast of soloists. Particularly known for his Verdi roles, and his roles in Russian operas, Ghiaurov was in his late 30s at the time of this recording. He would record the bass role in Verdi’s Requiem other times, most famously on the aforementioned Giulini set from 1964 on EMI. He also recorded it for Karajan on DG in 1972 and Abbado on DG in 1986. One of the leading bass voices of the 60s and 70s, Ghiaurov sings authoritatively here in the Tuba mirum and Confutatis and blends his voice ideally throughout. Ghiaurov possessed a sonorous, rich bass voice and he was also an excellent stage actor. His opera career would include bass and baritone roles, and he was lauded by critics for his expressiveness and technical excellence.
Conductor Herbert von Karajan may need no introduction, but Verdi’s Requiem was one of his signature works to conduct. He recorded it at least five times commercially, and there are other unofficial recordings. But in 1967, Karajan was at his peak professionally, and knew exactly what he wanted in this performance. I believe he was one of the best interpreters of Verdi’s Requiem, even if some of his other recordings don’t rise to the level of this one. One of his greatest talents was attracting great singers, and bringing out their best as he does here. Generally speaking, I am not a Karajan devotee and he could be over indulgent and overly concerned with beauty of tone at the expense of the composer’s wishes. But on this great Requiem, everything is spot on. It is a great triumph in my view.
Other recommended recordings
Carlo Maria Giulini’s studio account with the Philharmonia Orchestra and Chorus with soloists Elizabeth Schwarzkopf, Christa Ludwig, Nicolai Gedda, and Nicolai Ghiaurov, recorded in 1963-1964 by EMI. This is a truly great recording. The sound can become congested at loud climaxes, and personally I don’t find Schwarzkopf’s Libera me as terrifying as it could be. But there are really few faults here, and the soloists are all distinguished. If you enjoy this piece, you should certainly have this as part of your collection.
Leonard Bernstein conducting the London Symphony Orchestra and Chorus with soloists Martina Arroyo, Josephine Veasey, Placido Domingo, and Ruggero Raimondi, recorded in 1970 in London for CBS/Columbia (now Sony). Arroyo’s voice is ideal and she handles the challenges with ease. A young Domingo is in fresh voice, and Raimondi is much better here than on other recordings. Veasey also is firm and characterful. The bombast of Bernstein meets the bombast of Verdi, and it works well. The Royal Albert Hall’s acoustics are not ideal, but this is still a must hear recording.
John Eliot Gardiner with the Orchestre Revolutionnaire et Romantique and the Monteverdi Choir, with soloists Luba Orgonasova, Anne Sofie Von Otter, Luca Canonici, and Alastair Miles, recorded in 1992 in London by Philips. On period instruments, this is one of the all-time best recordings of Verdi’s Requiem, period or modern. With marginally smaller forces and somewhat faster speeds, Gardiner is able to bring out more viscerally the power and emotion inherent in this work. This is one of Gardiner’s greatest recordings.
Igor Markevitch leading the Moscow Philharmonic and State Chorus in a Philips recording from 1960. Using an all-Russian team of soloists, Markevitch leaves a searing reading of great intensity and darkness. The legendary Russian soprano Galina Vishnevskaya is breathtaking with her powerful voice. Recently reissued as part of a boxed set of Markevitch recordings, this is a stunning recording.
Antonio Pappano leading the Orchestra and Coro dell’ Accademia di Santa Cecilia of Rome in an EMI (now Warner) recording released in 2009. The soloists are Anja Harteros, Sonia Ganassi, Rolando Villazon, and Rene Pape. One of the most exciting and emotional accounts on record, Pappano’s experience as an opera conductor comes through as he leads a dramatic reading. The soloists are all quite good, if not exceptional, and the sound is excellent.
Christian Thielemann conducting the Staatskapelle Dresden Orchestra and State Opera Chorus in a 2014 recording on the Profil label. The soloists are relatively unknown, but all make outstanding contributions in this live recording commemorating the bombing of Dresden during WWII. Although Thielemann is most associated with the German composers, this performance brings out so many nuances in the orchestral and choral parts that I had not heard on other recordings. The sound is detailed and warm. Soloists are the soprano Krassimira Stoyanova, mezzo Marina Prudenskaja, tenor Charles Castronovo, and bass Georg Zeppenfeld. They perform magnificently. Of special note are Stoyanova, with her large voice capable of tremendous emotional involvement, and tenor Castronovo has a somewhat darker tone. He proves to be up to every challenge. This is perhaps as fine of a recording of the Requiem as any made in the past 50 years.
Fritz Reiner conducting the Vienna Philharmonic and Vienna Singverein on Decca from 1960. With starry soloists including Leontyne Price and tenor Jussi Bjorling (who died three months later), this is another truly landmark recording. The sound is a bit of a liability, with some overload distortion heard during the Dies irae. But this is a great one.
Georg Solti conducting the Vienna Philharmonic and the Vienna State Opera Choir from 1967 on Decca. A young Pavarotti and the stupendous Joan Sutherland are the stars here, and this recording truly brings the fire and fury as you might expect with Solti at the helm. Personally I find Sutherland not ideally suited to the piece, and her diction is just not very good. Still, this version is a favorite for many.
I hope you enjoy Verdi’s Requiem as much as I do. In any case, I want to thank you again for reading.
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