Verdi: Requiem / Sutherland, Horne, Pavarotti, Talvela, Solti
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Music CD Cover
Edition: Music CDCD Release Date: 1990-10-25
Music Label: Decca
Soundtracks:
Music CD 1
- Requiem: I Requiem - Requiem aeternam & Kyrie
- Requiem: ll Dies irae - Dies irae
- Requiem: ll Dies irae - Tuba mirum
- Requiem: ll Dies irae - Liber scriptus
- Requiem: ll Dies irae - Quid sum miser
- Requiem: ll Dies irae - Rex tremendae
- Requiem: ll Dies irae - Recordare
- Requiem: ll Dies irae - Ingemisco
- Requiem: ll Dies irae - Confutatis
- Requiem: ll Dies irae - Lacrimosa
- Requiem: lll Offertorium - Domine Jesu Christe
- Requiem: lll Offertorium - Hostias
- Requiem: lV Sanctus
- Requiem: V Agnus Dei
- Requiem: Vl Lux aeterna
- Requiem: Vll Libera me - Libera me
- Requiem: Vll Libera me - Dies irae
- Requiem: Vll Libera me - Requiem aeternam
- Requiem: Vll Libera me - Libera me
Free Music Notes for Verdi: Requiem / Sutherland, Horne, Pavarotti, Talvela, Solti
Free Music Review: Sonic spectacular
Hit: 5 Stars
Sonic spectacular
I'm a big fan of Joan Sutherland, so I really went out of my way to get this. Yes, 84 minutes on two full-price discs is not exactly a collector's bargain, but like I said, I had a different incentive for getting this.
Verdi Requiem sopranos are usually the Aida/Forza type. Not too often do you get the Gilda/La Traviata type. So it's a fascinating experience to hear a top coloratura like Sutherland in this choral warhorse. I found Sutherland's Requiem very enjoyable - I simply love the sound of her voice. While many fault her diction, I had no trouble with it (I understood her all throughout Libera Me). Also, it's neat to finally hear an actual trill in Hostias.
Listeners familiar with Georg Solti's Ring cycle will be well acquainted with his reputation for well-engineered sound. This Verdi Requiem was recorded in October 1967, yet even by today's standards, it is a sonic spectacular. Listen especially to the choral highlights like the opening of the Dies Irae, the Sanctus, and the final Libera Me fugue. Like the Ring cycle, the brass appear to have the best microphones of anyone in the orchestra. Audiophiles testing new speakers will have plenty of material to use in this album. And the bass drum in Dies Irae sounds more like an explosion than a musical instrument - very cool!
If you did not hear Luciano Pavarotti in Karajan's 1967 Verdi Requiem, here is your chance to hear him now. For me, this is one of my all-time favorite renditions of Ingemisco. I also like how he uses a soft voice rather that a head voice in Hostias.
Listeners may be aware that the Vienna State Opera Chorus and Vienna Philharmonic recorded the Verdi Requiem in November 1991 with Claudio Abbado, a wonderful recording in its own right. Fans of the Abbado disc, however, will not be disappointed with this much earlier 1967 collaboration. The Vienna State Opera is a very powerful chorus and can almost knock you off your feet when they come at you at full volume. And the Vienna Philharmonic proves that its status as one of the world's great ensembles is hardly a recent honor.
Overall, I liked all four soloists. BUT...Marilyn Horne tends to take a lot of liberties with her pronunciations (eleison is eh-leh-ee-sawn instead of sohn, for example), and her unison duet with Sutherland at the beginning of Agnus Dei really sounds a bit out of tune. I love Martti Talvela, but he seemed to be trying too hard in Confutatis (he practically sledgehammers "Voca me" and it's not pleasant to hear).
If you can get past the high price, I think you'll enjoy this.
Verdi: Requiem / Sutherland, Horne, Pavarotti, Talvela, Solti Poster
If you value the drama and terror of Giuseppe Verdi's sacred masterpiece, you need to hear this. Solti's "Dies Irae" is overwhelming, the drums pounding and the chorus sounding as if it's writhing in hell's torments. What Solti's intense, operatic conception lacks in spirituality it more than makes up for in the way it grips you by the throat and never lets go. The solo quartet, with one exception, is among the best assembled in the stereo era. Pavarotti shines, and Talvela's authoritative basso profundo is a rock-solid anchor. Horne's trademark register break can be a distraction at times, but she's thrilling. With a more idiomatic soprano, this would have been an unbeatable foursome, but Sutherland is sadly miscast here, most damagingly in the "Libera me." Sonics were demonstration quality in their day and are still competitive with the best. For a more devotional approach, Giulini is a good choice. Vintage performances by Toscanini (RCA and Music & Arts) and Serafin on Pearl (the latter with a true golden age vocal quartet) are desirable, as are stereo versions by Daniel Barenboim on Teldec and Robert Shaw on Telarc. Solti's remake for RCA is less attractive; you can't go wrong with this one. --Dan DavisClassical Music CDs
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