Verdi: Messa da Requiem | Gianandrea Noseda, Verbier Festival Orchestra, choir and soloists скачать в хорошем качестве

Verdi: Messa da Requiem | Gianandrea Noseda, Verbier Festival Orchestra, choir and soloists

Is the “Requiem” Verdi’s best opera? What’s certain is that the “Messa da Requiem” is a milestone of Italian music. Conductor Gianandrea Noseda has performed Verdi’s famous requiem mass from 1874 with the Verbier Festival Orchester and Choir of the “Teatro Regio di Torino.” It was recorded in the “Salle des Combins” in Verbier in August 2013 in conjunction with the Verbier Festival in the Swiss Alps. (00:00) Coming on stage (00:34) I. Introit: Requiem aeternam (08:15) II. Sequenz: Dies irae (10:18) II. Sequenz: Tuba mirum (12:04) II. Sequenz: Mors stupebit (13:19) II. Sequenz: Liber scriptus (17:28) II. Sequenz: Quid sum miser (20:16) II. Sequenz: Rex tremendae (23:23) II. Sequenz: Recordare (27:02) II. Sequenz: Ingemisco (30:21) II. Sequenz: Confutatis (35:13) II. Sequenz: Lacrymosa (41:05) III. Offertory: Domine Jesu Christe (45:10) III. Offertory: Hostias (50:20) IV. Sanctus (52:45) V. Agnus Dei (57:52) VI. Communio: Lux aeterna (1:03:18) VII. Libera me VERBIER FESTIVAL ORCHESTRA CORO DEL TEATRO REGGIO DI TORINO GIANANDREA NOSEDA | Conductor MARIA AGRESTA | Soprano DANIELA BARCELLONA | Mezzo-soprano PIOTR BECZALA | Tenor ILDAR ABDRAZAKOV | Bass Guiseppe Verdi’s “Messa da Requiem” is one of his seminal and best-loved works. As is usual in a requiem, the Italian composer (1813-1901) emphasized texts from the Catholic liturgy, starting with the requiem, a plea for eternal peace for the departed – through the dramatic “Dies Irae” from the Day of Judgement, to praising God, and the hope of eternal light (“Lux aeterna”) as well as liberation from eternal death (“Libera me”). But Verdi is doing more than sending a religious message. His libretto is also deeply human and emotional, which he repeatedly expresses in his senstive and stirring music. Verdi approached the concept of a “requiem” twice. First, he initiated the “Messa per Rossini.” In this piece, renowned contemporaries were each to compose a part. Verdi himself wrote the last part, the “Libera me.” Its performance was planned on the anniversary of Rossini’s death on 13 November 1869. The mass was finished, but there were squabbles about how to divide the costs, among other things. The premiere failed to take place, and the mass was forgotten. It wasn’t until 1988 that the ”Messa per Rossini” was premiered by the Gaerchinger Cantorey of the “Internationale Bachakademie Stuttgart.” Giuseppe Verdi revisited the idea of a funeral mass in 1873, after the death of the poet, Alessandro Manzoni. Verdi honored him for both his writing and political views as a proponent of Italian nationalism. The last part of the “Messa per Rossini,” Verdi’s “Libera me,” was the focal point of the new, “Manzoni Requiem,” which today is known as the “Verdi Requiem.” It premiered on 22 May 1874 – the first anniversary of Manzoni’s death – in Milan’s church of San Marco. Verdi was renowned as a composer of operas, including famous works such as “La Traviata,” “Rigoletto,” “Aida” and “Don Carlos.” Although his “Requiem” was premiered in a church, the work was actualy conceived for concerts. The work was performed three times in the same month in the Teatro alla Scala. It was also played at the “Opéra Comique” in Paris as well as at Vienna’s State Opera. Even before it premiered, the famous conductor and critic Hans von Bülow had described the “Requiem” as an “opera in church vestiments.” Other critics also downplayed the work’s sacred character because it was too dramatic, passionate and sensual. Yet Verdi disputed this view and emphasized his mass was not to be sung like an opera. Nevertheless, melodies from the mass can be also be heard in some of his other operas. During Verdi’s time, there was major debate over how religious music was supposed to sound. Purists believed a funeral mass could not sound worldly or theatrical. Eighteen years after the premiere, however, even the grand Wagnerian Hans von Bülow recanted and revised his judgement. He asked Verdi for forgiveness, writing to him,”I’ve started studying your recent works – “Adia” and Otello” and the “Requiem,” which recently moved me to tears during a rather paltry performace of it.” © 2013 Idéale Audience - Museec Enjoy more concerts in your personal concert hall:    • LISTEN AND WATCH - your personal concert hall   And listen to more vocal music in our opera playlist:    • THE WORLD OF OPERA   Subscribe to DW Classical Music:    / dwclassicalmusic   #verdi #requiem #mass