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There will be undoubtedly those uncomfortable with an approach such as this, needing perhaps something more concrete, less abstract. And yet it felt universal, as if every single person in that room tonight could find something of themselves in what was presented to us on stage. It was very well performed, with Bengtsson in particular giving singing of beauty and power and acting of staggering abandon.


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For the woman it may have been the multiple feelings of grief or it may have been from life itself. The answer, I wager will have varied from person to person in the audience. This was a powerful and challenging piece of theatre, one that offered multiple rewards and multiple revelations. Alternatively, you can support operatraveller. You are commenting using your WordPress.


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    Verdi Requiem - Ildar Abdrazakov - Confutatis.

    This site uses Akismet to reduce spam. Learn how your comment data is processed. Share this: Email Facebook Twitter Reddit. Like this: Like Loading Leave a Reply Cancel reply Enter your comment here Fill in your details below or click an icon to log in:. This engraving appeared in Illustrazione Universale Milan that same year. He bought it and began by building a villa.

    Then he added a garden to the villa, a park to the garden, meadows to the park, woods to the meadows; and over the whole estate he dotted fine, beautiful farms — as many as the operas he composed! Verdi loved the countryside of his childhood and returned as an adult to secure a home for himself.

    He bought a rundown house and hired local people to help him remodel the house and create an oasis around it. Verdi first learned music from the village organist, Pietro Baistrocchi, whose job he inherited as a teenager when Baistrocchi died. At 13, he began to compose music for church, theater, and the concert hall.

    In , at the age of 18, Verdi left home for Milan to study counterpoint.

    Verdi: Messa da Requiem & 4 Pezzi sacri

    When all three of the concertmasters fell sick at once, Verdi, who had been sitting quietly in a corner for weeks, went to the piano and conducted the rehearsal. He did so well that he was hired to conduct the concert itself. Their two children died in and Tragically, in , his beloved Margherita died. Verdi was overcome with grief and could not work. Then a libretto, pressed upon him by a friend, awakened his creative spark. Fortunately for music, this time never came.

    Verdi and Giuseppina Strepponi, his partner of 50 years, are buried there. The deaths of two men whom Verdi revered and Italians embraced as their greatest artists inspired him to compose a mass for the dead: Gioacchino Rossini d. Verdi had not composed sacred works for 30 years, so he studied several requiems, such as those by Rossini, Mozart, Berlioz, and Cherubini — all based on the second-century Catholic mass for the dead. It is clear that the religious spirit and the works that express it ought to bear the imprint of the epoch and of the individual.

    These are the two most dramatic sections, full of sharp contrasts and descriptive writing. Repetitions of text and music help give them their sense of unity.

    Verdi gives the chorus a strenuous, chromatic line in octaves, sung full voice in the midst of a cataclysm of thunderous drums, lightening-strike chords, and plunging and climbing runs in the orchestra. These words, sung by the chorus in ringing tones, abruptly end with an unexpected modulation. Over repetitions of this figure, the bass soloist sings a short, gruff passage describing Judgment Day. A whirling in the strings wells up into a furious reprise of the opening. Verdi gives this lament to a trio of soloists no bass.

    The mezzo-soprano introduces the touching melody, which the chorus takes up. A progression of key changes makes a transition into the graceful prayer for eternal rest. A brilliant and uplifting fugue for double chorus follows. Verdi was not inclined to write pure fugues in the manner of his musical predecessors. Luminous harmonic changes, shimmering tremolos in the strings, colorful instrumentation, and subtle shifts of mood create a rare sense of mystery and, finally, wholeness.

    This moment of magical stillness is shattered as the soprano cries out in terror, leading to a full-fledged fugue for the chorus. The subject of this fugue, with its odd intervals and dizzying changes of direction, has an almost jaunty rhythm that propels it through various melodic permutations and keys.

    Verdi: Requiem | Sony Classical

    The concluding C-major chord of this mighty composition offers only a shadow of hope. Choral , Chorus , Requiem , Verdi. Quantus tremor est futurus, quando judex est venturus, cuncta stricte discussurus! Tuba mirum spargens sonum, per sepulcra regionem, coget omnes ante thronum. Browse Community. Choose where you want to share: Link to this page. Verdi, Giuseppe - Messa da Requiem. Arrangement of a work in the Public Domain. Learn more. Verdi Requiem 1 Requiem fredipi Pro.

    Verdi Requiem 1 Requiem Soprano fredipi Pro. Verdi Requiem 1 Requiem Alto fredipi Pro. Verdi Requiem 1 Requiem Tenor fredipi Pro. Verdi Requiem 1 Requiem Basse fredipi Pro. Verdi Requiem 2c Liber scriptus fredipi Pro. Verdi Requiem 2c Liber scriptus Soprano fredipi Pro.