Prom 23: Verdi – Requiem (2.08.15)

[Eine Alpensinfonie]

20:00
Royal Albert Hall

Karen Cargill, BBC Scottish Symphony Orchestra and Donald Runnicles, live at the BBC Proms, perform Verdi's Requiem.


Verdi: Requiem

Angela Meade (soprano)
Karen Cargill (mezzo-soprano)
Yosep Kang (tenor)
Raymond Aceto (bass)
Concert Association of the Chorus of the Deutsche Oper Berlin
BBC Scottish Symphony Orchestra
Donald Runnicles (conductor)

After a powerfully disquieting performance of Strauss's Salome last year, Donald Runnicles returns for the first of two appearances this summer, bringing together two musical institutions of which he is music director and chief conductor: the chorus of the Deutsche Oper Berlin and the BBC SSO. They perform Verdi's Requiem - a work conductor Hans von Bülow described as 'an opera in ecclesiastical garb', written for the concert hall but distilling all the drama and intensity of the stage. At its core is the extended Dies irae sequence - a Day of Judgement whose terrors are not easily forgotten. The international cast of soloists includes Scottish mezzo-soprano Karen Cargill.

[Eine Alpensinfonie]

In some ways, my favourite Verdi "opera".

But in the BBC blurb above, why is Karen Cargill placed "above" the other soloists?

[ferneyhoughgeliebte]

But in the BBC blurb above, why is Karen Cargill placed "above" the other soloists?

? - Possibly because (of the "International cast of soloists") she is the (more) "local" lass??

[Eine Alpensinfonie]

? - Possibly because (of the "International cast of soloists") she is the (more) "local" lass??

I did suspect they might be being a teeny weeny bit patronising.

[David Underdown]

Those heading to the hall, be aware that it's the RideLondon cycle race so there will be many road closures around SW London.

[edashtav]

Those heading to the hall, be aware that it's the RideLondon cycle race so there will be many road closures around SW London.

I hope that David's warning didn't inhibit Boarders attending the RAH this evening. There's been a deathly hush about Donald Runnicles' performance of the Verdi Requiem both before and after the event. It's only Prom 23 - are we exhausted, already?

I , too must make my excuses. I heard only only as far as the end of the Dies Irae live this evening. But what I heard fascinated me. I'm glad that there's a detailed and sensible review already on-line from Alexandra Coglan:

http://www.theartsdesk.com/classical-music/prom-23-bbcsso-runnicles

I'll quote the paragraph that covers the section I heard:

Playing a long game, Runnicles kept his musicians completely restrained throughout this first movement, holding them back for a payoff of a Dies Irae, exploding into the space with a battering assault of sound. It was here that the Chorus of the Deutsche Oper really claimed this musical territory as their own, showing up the weakness of even the best symphony choruses with their muscular and agile sound and superb blend.


Spot on!

I'll add something that resonated with me because we've been suffering from "My Space" Invaders : wasps ( 600 killed, yesterday, 560 and counting , today). The scalic upper string rushing passages before the Dies Irae choral entry finally explodes can sound tame. Tonight they had frightening bite and energy. Yes it was my Dies Irae nightmare: stuck in a sealed cell full of giant, buzzing, stinging wasps. The chorus were unbelievably good - the best I've heard in a season replete with fine choirs.

Well, I hope other boarders will tune in via one platform or another to hear this good performance. It may prove controversial - the opening was so sotto voce, I wasn't sure that the piece had started.

[Flosshilde]

My thoughts too, Ed, listening on the radio. The chorus were superb, & it's perhaps their experience as an operatic chorus, and Runnicles' experience as an operatic conductor, that brought out the drama in the work & made it so thrilling - real goose-bumps. I'd love to have been in the RAH for it. I wasn't so sure about the two male soloists, especially in their first solos.

[edashtav]

I wasn't so sure about the two male soloists, especially in their first solos.

I did't warm to the first efforts of the bass soloist either, Flosshide: plenty of bluster but to little effect.

[Eine Alpensinfonie]

There's been a deathly hush about Donald Runnicles' performance of the Verdi Requiem both before and after the event.

I often try to remember to "bump" concert threads a few hours beforehand, if no-one else has done. In the case of this great choral work, I thought it might find its way to the top without encouragement.

It's only Prom 23 - are we exhausted, already?

Possibly. We've become sidetracked by trivia in recent days.

[Eine Alpensinfonie]

Angela Meade's voice is much too wobbly for my tastes.

[PhilipT]

Angela Meade's voice is much too wobbly for my tastes.

Careful EA! For those of us at the performance your comment contains a (doubtless unintentional) double entendre.

[Eine Alpensinfonie]

Careful EA! For those of us at the performance your comment contains a (doubtless unintentional) double entendre.

Point taken (and I committed the unintentional host's crime of editing the comment firsty in your quotation - sorry).

[Darkbloom]

Careful EA! For those of us at the performance your comment contains a (doubtless unintentional) double entendre.

She was certainly a large lady. Someone near to me muttered something about Empress of Blandings when she hove into view, which I thought rather unfair. I think she could be best described as coming from the Sharon Sweet school, of 'Sweet Trolley' fame.

I enjoyed the performance overall, after a shaky start from all the soloists, especially the tenor who sounds like he is developing a bit of Heppner-ish vocal trouble. What struck me - this being my first live Requiem - was how much it reminded me of Aida, especially the raucous, punchy brass writing - but there were so many echoes overall that it would take too long to enumerate them. The best of the quartet, for me, was the bass - although not a huge voice, he had just the sort of craggy voice that suited this music, particularly in the more sepulchral moments.

Runnicles has to be one of the most underrated conductors out there, He is never less than solid, and often produces outstanding performances (last year's Salome being just one), and he really got the best from both orchestra and choir. His big strength is the way he manages to hold a performance together without sacrificing excitement along the way. The performance never flagged - sometimes you feel that conductors concentrate on the Dies Irae and just muddle through the rest - and you felt that he had a sure grip on the music from first to last.

One other thing. Is there a bigger kisser among conductors than Runnicles? The performance is barely over and he is moving on his female soloists. I can't imagine Haitink doing that sort of thing.

[PhilipT]

One other thing. Is there a bigger kisser among conductors than Runnicles? The performance is barely over and he is moving on his female soloists. I can't imagine Haitink doing that sort of thing.

I've seen Barenboim move in on the young ladies of the West-Eastern Divan with great enthusiasm (and more reason, IMHO).

A random thought that perhaps the semi-professionals here can help me with: Why don't SATB groups team up and take bookings together? It was very clear last night that the choir had rehearsed this thoroughly, but, well, the soloists were the weak point. Have they ever sung together before? Probably not. I've seen the same at Beethoven 9s, to take the obvious example. Yes, yes, I know - there are many works that use other combinations, and conductors all have their favourites, but wouldn't harassed concert promoters find their worries a little fewer if an agent said ".. £x000 for the four and they'll have sung it together twice in the previous month."?

[Stanfordian]

She was certainly a large lady. Someone near to me muttered something about Empress of Blandings when she hove into view, which I thought rather unfair. I think she could be best described as coming from the Sharon Sweet school, of 'Sweet Trolley' fame.

I enjoyed the performance overall, after a shaky start from all the soloists, especially the tenor who sounds like he is developing a bit of Heppner-ish vocal trouble. What struck me - this being my first live Requiem - was how much it reminded me of Aida, especially the raucous, punchy brass writing - but there were so many echoes overall that it would take too long to enumerate them. The best of the quartet, for me, was the bass - although not a huge voice, he had just the sort of craggy voice that suited this music, particularly in the more sepulchral moments.

Runnicles has to be one of the most underrated conductors out there, He is never less than solid, and often produces outstanding performances (last year's Salome being just one), and he really got the best from both orchestra and choir. His big strength is the way he manages to hold a performance together without sacrificing excitement along the way. The performance never flagged - sometimes you feel that conductors concentrate on the Dies Irae and just muddle through the rest - and you felt that he had a sure grip on the music from first to last.

One other thing. Is there a bigger kisser among conductors than Runnicles? The performance is barely over and he is moving on his female soloists. I can't imagine Haitink doing that sort of thing.

Hiya Darkbloom,

I met Runnicles in his office at the Deutsche Oper Berlin last year. He didn't kiss me then, so maybe he only kisses women!