BaL 2.07.16 - Fauré: Requiem

[Alain Maréchal]

I didn't even know that Laurence Equilbey is a woman

Ladies are Laurence, gentlemen are Laurent.

[Roslynmuse]

My first experience of this work was the Ansermet recording with Danco and Souzay. I still love it, even though at the time I bought the Willcocks recording, featuring Sir David's Carols for Choirs successor.

But the version I listen to most often is the Frémaux - simply perfect - and I still have it on a real solid CD.

Me too - coupled with an excellent Berlioz Requiem from Birmingham.

[underthecountertenor]

Well, well, well... Mr Morrison and I are clearly after something completely different from this work - and his body clock must tick at a different speed. But the most glaring factual error of any BAL I can recall (see at the end of this post) suggests to me that it's not just about personal preferences - this was a seriously flawed and unsatisfactory review

I agree almost completely with this:



The main thing about which I did agree with him, was on the Giulini recording - and Kathleen Battle (Giulini & Battle - talk about the bishop and the actress...). And yes, he did clearly set out the various 'versions' of the work and their comparative qualities.

However - well, I bought that "winning" Tenebrae recording when it came out, and it went straight back - I found it lifeless, plodding, four-square... and although the soprano is pure (but dull), I didn't like AT ALL the male soloist.

In other words, again I agree (not necessarily with the maths , but in general) with



and also, very much, with



For Mr Morrison to find the Tenebrae the best, for me colours all his judgements on the performances. As do his omissions. Of course, he can't discuss them all, it's the old BAL dilemma... But my colours are so clearly nailed to the Accentus recording that its omission seems perverse; likewise the Summerly and Cluytens, apparently (I only know the latter of those two, I bought my dad the LP during one of my first stints in Paris, it was often heard at home).

Sadly, the sense that he was not proceeding from a comprehensive knowledge of the runners and riders was put beyond doubt by this absurd error:

"..the Choir of King's College Cambridge made its second recording of the work, this time under Stephen Cleobury two years ago..."

That's a pretty heavy clanger.

Not only does he seem not to know about the Ledger version (with Arléen Auger), but also the first of two Cleobury recordings. Both Ledger and 'Cleobury 1' from what I can see are freely available (but even if they weren't, Morrison's statement is daft).

As mentioned above, Cleobury 1 has imho the best treble soloist (reason alone to reference it, because Bob Chilcott does sound hesitant as RM rightly said) - and furthermore is of the Rutter-edited 1893 version. (It still doesn't seem to have found its way into Alpie's list in #1 above)

So, for various reasons, this isn't a BAL by which I think one can set much store.

I think I'm allergic to Richard Morrison. Thanks for affirming my decision to switch to France Musique immediately before his voice hit the airwaves.

I switched on to Sunday Morning just after the start of the Requiem in RM's chosen version. Immediate thoughts were: 'how very English, how very perfectly tuned, how very bloodless and how very SLOW'. Escaped back to France Musique without further ado.

[Barbirollians]

Having heard the chosen one, I can objectively report that the Equilbey/Accentus is 17.649 times better than the Short/Tenebrae.

Subjectively, I just found the Short too slow for how I like to hear this work (avoiding obvious "Short too Long" puns) - I can't get to paradise when I'm thinking "oh, get a move on!" all the time. There again, perhaps I don't deserve to - but Herrweghe, Summerly, and Equilbey between them will provide me with all I need from a recording of this lovely, gently, and deeply moving piece.

Glad I missed this - it sounds as bad as his Elgar 2 BAL .

I like the Heereweghe but the Cluytens wins every time for me . The old CfP tape snapped and the GROC remains much loved for all a touch of choral wobbliness. De los Angeles is terrific as is DFD no barking here .

[VodkaDilc]

Glad I missed this - it sounds as bad as his Elgar 2 BAL .

I think I've gone off the idea of BAL, especially for a work like this. I don't expect others too agree, but, in something like this, I know what I like, warts and all. Willcocks is the ultimate for me and, if there's a more moving soloist than John Carol Case, I have yet to hear him.

And for an altogether unforgettable experience I can't resist the atmosphere and commitment of Nadia Boulanger's performance.