As a choral singer, I must admit being a bit disappointed that the choruses on these recordings are seldom mentioned and even when they are there is little analysis of their role in the performances. I suppose that really good choral singing is seen as not worthy of much comment, with the quality of the soloists and the conductor being much more important. Not really moaning, just undergoing the uncomfortable realisation that the chorus matters less in this piece than I feel it does when I perform in it. Always interesting to hear people's views and glad that Giulini's recordings still have their admirers.
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The New Philharmonya chorus under Wilhelm Pitz are in terrific voice for Barbirolli.Comment
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Marginally off-topic, but I went to this on Saturday evening and it was exceptionally good.
The combined collegiate choirs were the best thing about it all, for me. The soprano and (particularly) the bass soloists were also terrific. Jac van Steen is a very good conductor indeed.
I'm sure Verdi purists would miss 'Italian authenticity' but the lack of the latter was a massive advantage for me
"...the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
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What extraordinary prices for a university orchestra and chorus - then again only Cambridge ( and Oxford )could afford soloists and conductor of that ilk.Originally posted by Caliban View PostMarginally off-topic, but I went to this on Saturday evening and it was exceptionally good.
The combined collegiate choirs were the best thing about it all, for me. The soprano and (particularly) the bass soloists were also terrific. Jac van Steen is a very good conductor indeed.
I'm sure Verdi purists would miss 'Italian authenticity' but the lack of the latter was a massive advantage for me Comment
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I have Solti, Abbado and Pappano. Looks like I’ll need to investigate further! A choice between Abbado or Solti for me at present.Don’t cry for me
I go where music was born
J S Bach 1685-1750Comment
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Hiya Petruska,Originally posted by Petrushka View Post
In my view the wonderful account from Carlo-Maria Giulini with the Philharmonia Orchestra and Chorus with Schwarzkopf, Ludwig, Gedda and Ghiaurov recorded at Kingsway Hall in 1963/64 on EMI/Warner, although not perfect by any means, doesn't show it's age inordinately. Sometimes some allowances for the sound quality have to be made for such a stunning performance! Classified by EMI as one of its 'Great Recordings of the Century' it's still my firm first choice Verdi Requiem!Last edited by Stanfordian; 01-02-18, 10:15.Comment
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Caliban, I was at this concert also (my daughter was playing in the 1st violins) and, like you, enjoyed it very much. We were in the cheap seats at the back, so the loud, busy passages turned into a detail-free mush, but some of the more spiritual, quieter passages were exquisite.Originally posted by Caliban View PostMarginally off-topic, but I went to this on Saturday evening and it was exceptionally good.
The combined collegiate choirs were the best thing about it all, for me. The soprano and (particularly) the bass soloists were also terrific. Jac van Steen is a very good conductor indeed.
I'm sure Verdi purists would miss 'Italian authenticity' but the lack of the latter was a massive advantage for me
I too thought the bass was the best soloist, firm, well-tuned (even in the 'mors stupebit' section) and genuinely bel canto in style. The soprano fielded wonderful floated high notes when required, though her lower register didn't really project well to the back of the chapel (e.g. at the end). The tenor was my least favourite - probably because he came closest to purveying the 'Italianate authenticity' you so admire (...).
The chorus were excellent, especially in the opening Kyrie, though from my seat there was a lack of sheer heft in the Dies Irae. The orchestra were good, a few passing incidents aside (sprog commented afterwards that the conductor was a lot less helpful to them in the performance than he had been in rehearsal, which accounted for some bum entries). It's a difficult acoustic for such a piece, but the overall impact was superb.
Back on topic, like many others I am particularly partial to the famous EMI Guilini recording, but would also put in a word for the BBC Legends set (coupled with Schubert's E flat Mass) in which he was joined a few months later by a British solo quartet in a terrific live Prom performance.Comment
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I wondered if anyone else from the Forum had been there. Compliments to Ms. Rolmill!Originally posted by Rolmill View Post
We were in the front row of that same rear section - maybe I'd been expecting worse in terms of 'detail-free mush' so was pleasantly surprised.
Didn't notice anything untoward in the upper strings! And I agree with you about the tenor, and that the soprano was best in the upper register!"...the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
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...and of course, the superb bass was not that named on the poster but Darren Jeffery - I hadn't realised he was (presumably) a late replacement.Originally posted by Caliban View PostComment
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Oh! I hadn't realised at all until you said it.Originally posted by Rolmill View Post"...the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
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A pity there’s no recording!Originally posted by Caliban View PostDon’t cry for me
I go where music was born
J S Bach 1685-1750Comment
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