Prom 6: Verdi Requiem, BBC NOW / BBC NCW, L. Moore/Cargill/Baek/S. Howard/Bancroft

[Keraulophone]

David Nice, however, is nicer in his Arts Desk review

In a strange way, I agree with both reviews. It was a wonderful live experience in so many ways but disappointing in several others.

[Ein Heldenleben]

The Times (NF, 24/7/24) is even more scathing:

‘Latonia Moore, while throwing almost everything but the kitchen sink at the music, was more erratic than seraphic, her bluesy phrasing and uneven pitching adding the wrong sort of jeopardy. Come the final Libera Me, her soprano was not so much floating heavenward as simply adrift.’

Oh dear , oh dear. She did seem to have a lot of pitching problems.
The “Welsh Diva “ I was thinking of in my initial reply to Edashtav was Natalya Romaniw who was presenting the other night when she should be singing !

I think Neil is a bit hard on the performance overall which had many fine moments. The fundamental problem was that the quartet of soloists didn’t blend with each other , the chorus , or the orchestra. I’m coming to the view that this is one of the most difficult pieces in the whole singer plus orchestra repertoire to bring off. There are so many usual textures - everything from that weirdly exposed chromatically climbing bassoon solo plus voice to tumultuous tutti - and singers to fit in as well.

I was following with score last night - you spend a lot of time just gasping at Verdi’s genius . That sudden g major chord in the Bflat chordal end of one of the sections - breathtaking.

[Ein Heldenleben]

In a strange way, I agree with both reviews. It was a wonderful live experience in so many ways but disappointing in several others.

Precisely

[Darkbloom]

The Times (NF, 24/7/24) is even more scathing:

‘Latonia Moore, while throwing almost everything but the kitchen sink at the music, was more erratic than seraphic, her bluesy phrasing and uneven pitching adding the wrong sort of jeopardy. Come the final Libera Me, her soprano was not so much floating heavenward as simply adrift.’

She was pretty upset when the performance finished, and I guess that was the reason, but she wasn't the first soprano to struggle with that and won't be the last.

[Ein Heldenleben]

She was pretty upset when the performance finished, and I guess that was the reason, but she wasn't the first soprano to struggle with that and won't be the last.

Indeed . If you’ve been to as many operas as I have it’s par for the course. Somehow in the drama of being there you can put it to one side slightly . The problem is on radio you have no visual distractions. Perhaps she was overwhelmed by the emotions of the occasion . I’ve heard her have pitch problems in other performances eg the Met Porgy and Bess . Sometimes I think the singer isn’t aware of it .

[oddoneout]

It will be broadcast on BBC 4 at 8pm on Friday.

Also repeated this Thursday afternoon on R3 "Classical Live" 2-15pm

[oddoneout]

I watched the TV version last night, which proved interesting having heard it live first, gained some impressions of the singers, and then read the various comments.
With the forces involved getting everyone satisfactorily on the platform is inevitably a problem but the soloists did seem rather isolated, especially the tenor and bass, both from each other and from the conductor. Karin Cargill, perhaps as the experienced one, did engage with her fellow soloist quite a lot, turning towards her, moving closer(although at a couple of points I did wonder if that was to indicate where the pitch should be...), and the bass seemed as if he wanted to be more a part of an ensemble and looked often towards the conductor, but the tenor just seemed rooted to the spot in some kind of bubble; at times their vocal scores seemed to be almost life rafts they were clinging to. Ms Moore also clung to her score but didn't seem to use it, and towards the end, for her big spot, left it on her chair. What did strike me about her was that to my eyes her breathing and general posture were almost an illustration of how not to do it. Each breath in was upper chest, more of a gasp often, and accompanied by shoulders nudging ears, and much of the time her arms seemed clamped to her side and ramming the folder into her diaphragm. None of that would have helped her singing. In contrast Karin Cargill did the classic still shoulders and no real sign of in breaths, and so was able to maintain her line with confidence and to good effect. In terms of the tears at the end I agree with Helden that it was emotion - there was very nearly a bottom lip wobble in her last few notes and her eyes started filling during the final chord. For all her years of performing experience this was rather different from her usual roles, and a proms debut to boot, so a lot of pressure. In an interview* she says this

For me the biggest challenge is always just me, and the issue is can I control my nerves?

and also mentions

As I get older, the pressure gets harder, and I’m more nervous than I used to be

. The lack of a cast, storyline and character to play is rather different from her opera roles.

*https://www.csmusic.net/content/arti...breathe-music/

[Ein Heldenleben]

I watched the TV version last night, which proved interesting having heard it live first, gained some impressions of the singers, and then read the various comments.
With the forces involved getting everyone satisfactorily on the platform is inevitably a problem but the soloists did seem rather isolated, especially the tenor and bass, both from each other and from the conductor. Karin Cargill, perhaps as the experienced one, did engage with her fellow soloist quite a lot, turning towards her, moving closer(although at a couple of points I did wonder if that was to indicate where the pitch should be...), and the bass seemed as if he wanted to be more a part of an ensemble and looked often towards the conductor, but the tenor just seemed rooted to the spot in some kind of bubble; at times their vocal scores seemed to be almost life rafts they were clinging to. Ms Moore also clung to her score but didn't seem to use it, and towards the end, for her big spot, left it on her chair. What did strike me about her was that to my eyes her breathing and general posture were almost an illustration of how not to do it. Each breath in was upper chest, more of a gasp often, and accompanied by shoulders nudging ears, and much of the time her arms seemed clamped to her side and ramming the folder into her diaphragm. None of that would have helped her singing. In contrast Karin Cargill did the classic still shoulders and no real sign of in breaths, and so was able to maintain her line with confidence and to good effect. In terms of the tears at the end I agree with Helden that it was emotion - there was very nearly a bottom lip wobble in her last few notes and her eyes started filling during the final chord. For all her years of performing experience this was rather different from her usual roles, and a proms debut to boot, so a lot of pressure. In an interview* she says this and also mentions . The lack of a cast, storyline and character to play is rather different from her opera roles.

*https://www.csmusic.net/content/arti...breathe-music/

Yes nerves are a good explanation and of course one way of calming those is through breathing.

[LHC]

I watched the TV version last night, which proved interesting having heard it live first, gained some impressions of the singers, and then read the various comments.
With the forces involved getting everyone satisfactorily on the platform is inevitably a problem but the soloists did seem rather isolated, especially the tenor and bass, both from each other and from the conductor. Karin Cargill, perhaps as the experienced one, did engage with her fellow soloist quite a lot, turning towards her, moving closer(although at a couple of points I did wonder if that was to indicate where the pitch should be...), and the bass seemed as if he wanted to be more a part of an ensemble and looked often towards the conductor, but the tenor just seemed rooted to the spot in some kind of bubble; at times their vocal scores seemed to be almost life rafts they were clinging to. Ms Moore also clung to her score but didn't seem to use it, and towards the end, for her big spot, left it on her chair. What did strike me about her was that to my eyes her breathing and general posture were almost an illustration of how not to do it. Each breath in was upper chest, more of a gasp often, and accompanied by shoulders nudging ears, and much of the time her arms seemed clamped to her side and ramming the folder into her diaphragm. None of that would have helped her singing. In contrast Karin Cargill did the classic still shoulders and no real sign of in breaths, and so was able to maintain her line with confidence and to good effect. In terms of the tears at the end I agree with Helden that it was emotion - there was very nearly a bottom lip wobble in her last few notes and her eyes started filling during the final chord. For all her years of performing experience this was rather different from her usual roles, and a proms debut to boot, so a lot of pressure. In an interview* she says this and also mentions . The lack of a cast, storyline and character to play is rather different from her opera roles.

*https://www.csmusic.net/content/arti...breathe-music/

It's worth remembering that Latonia Moore began her singing in her local church choir and came to classical music from gospel. Her grandfather was also a pastor in her local church. It is possible that singing in a requiem mass would have had more meaning for her than for some people with a less religious background and upbringing, and that her emotional response to the piece reflected that, as well as possible nerves at making her debut in the proms

I too watched it on BBC4 last night. As others have said, orchestra and choir were impressive but sadly the soloists were a good deal less so. I also thought that using a fish eye lens on the camera for the close ups of Latonia Moore and Karen Cargill didn't do either of them any favours.

The first Verdi Requiem I saw was also at the Albert Hall in March 1981 (never having heard it before) and was rather special. The LSO was conducted by Claudio Abbado with Mirella Freni, Margaret Price (singing the mezzo part at very short notice for the first and only time in her career), Jose Carreras and Nicolai Ghiaurov as the soloists. It was quite an introduction to the piece!

[oddoneout]

Another view here

https://www.theguardian.com/music/article/2024/jul/24/prom-67-verdis-requiem-jakub-jozef-orlinski-choral-glories-bel-canto-and-breakdancing-royal-albert-hall-london

Provided me with a couple of giggles - he got a bit carried away on the Verdi soloists I think...

[Darkbloom]

Another view here

https://www.theguardian.com/music/article/2024/jul/24/prom-67-verdis-requiem-jakub-jozef-orlinski-choral-glories-bel-canto-and-breakdancing-royal-albert-hall-london

Provided me with a couple of giggles - he got a bit carried away on the Verdi soloists I think...

I'm sure Solomon Howard is duly grateful that his mighty thews have received due acknowledgement. I thoroughly enjoyed the performance. I know others don't share my opinion - and that's one of the joys of concert going - but it was one of the more memorable concerts I have been to.

[Ein Heldenleben]

I'm sure Solomon Howard is duly grateful that his mighty thews have received due acknowledgement. I thoroughly enjoyed the performance. I know others don't share my opinion - and that's one of the joys of concert going - but it was one of the more memorable concerts I have been to.

I enjoyed the performance but I did think LM was consistently sharp . But that’s par for the course for so many opera performances I’ve been to. To get all four lead roles in a Verdi work singing like the Freni, Price , Carreras , Ghiaurov Requiem mentioned above is a half a dozen times in a lifetime experience.

[oddoneout]

I'm sure Solomon Howard is duly grateful that his mighty thews have received due acknowledgement. I thoroughly enjoyed the performance. I know others don't share my opinion - and that's one of the joys of concert going - but it was one of the more memorable concerts I have been to.

Wonder what Karen C makes of mention of her imperious bottom.

[Darkbloom]

Wonder what Karen C makes of mention of her imperious bottom.

The Guardian makes me shake my head more than any other newspaper, particularly the columnists. The other day someone devoted a column to the fact that she sweats a lot. And as for Adrian Chiles....I can't believe he gets paid for those Pooteresque drivellings.

[Cockney Sparrow]

The Guardian makes me shake my head more than any other newspaper, particularly the columnists. The other day someone devoted a column to the fact that she sweats a lot. And as for Adrian Chiles....I can't believe he gets paid for those Pooteresque drivellings.

Married to, or partner of, the editor.

Private Eye's Street iof Shame pages are quite an eye opener (as if I hadn't already a low opinion of journalists and those whose bidding they do......).