Organization

Verbier Festival

Dyrygent

Daniele Gatti

Śpiewak

Sopran

Lise Davidsen

Tenor

Freddie De Tommaso

Bryn Terfel

Mezzosopran

Yulia Matochkina

Accademia Nazionale di Santa Cecilia

Others

Coro dell'Accademia Nazionale di Santa Cecilia

Orchestra

Verbier Festival Orchestra

łaciński

VFO / Gatti: Verdi Requiem

Bagnes

Szwajcaria

Eglise de Verbier

VFO / Gatti: Verdi Requiem: Messa da Requiem Verdi

Public

Requiem

Approved

Verdi’s Requiem of 1837 wasn’t quickly described as his ‘latest opera’ for nothing, with its intense human emotion, huge forces and sheer dramatic kick. Opening in hushed, grief-soaked beauty, its opening ‘Requiem’ and ‘Kyrie’ rise to various climaxes before ending in serene hope. 
Written in anguished response to the death in 1873 of Italian novelist and poet Alessandro Manzoni, Verdi's Requiem was quickly described as his "last opera", due to its intense human emotions, grandiose force and sheer dramatic power. . Opening in hushed beauty, steeped in grief, the 'Requiem' and 'Kyrie' soar to moving heights before ending in serene hope. Hence the shock of the "Dies irae", whose cataclysmic opening music serves as a springboard and a guiding thread for a vast, dramatically tense movement, with multiple colors and textures, including the "Tuba mirum", the "Liber scriptus" , the "Quid sum miser", the "Rex tremendae", the "Recordare", the "Ingemisco", the "Confutis" and, finally, the "Lacrimosa", in the “Amen” from which Verdi suddenly injects a luminous hope in G major. This is followed by a warm glow in the “Offertorium” and a frenetic vigor in the “Sanctus” with its fanfares of trumpets and its fugue for double choir. The 'Agnus Dei' is another striking overture, with the soprano and mezzo soloists alone introducing its theme in octaves. After the struggle towards the light of the 'Lux aeterna', an imperious recitative from the soprano opens the final 'Libera me', which has its own powerful moments, including the solo reprise of the first movement's 'Requiem aeternam', closed by the music from “Dies irae”. The work ends with a prayerful supplication. “Offertorium” and a frenetic vigor in the “Sanctus” with its fanfares of trumpets and its fugue for double choir. The 'Agnus Dei' is another striking overture, with the soprano and mezzo soloists alone introducing its theme in octaves. After the struggle towards the light of the 'Lux aeterna', an imperious recitative from the soprano opens the final 'Libera me', which has its own powerful moments, including the solo reprise of the first movement's 'Requiem aeternam', closed by the music from “Dies irae”. The work ends with a prayerful supplication. “Offertorium” and a frenetic vigor in the “Sanctus” with its fanfares of trumpets and its fugue for double choir. The 'Agnus Dei' is another striking overture, with the soprano and mezzo soloists alone introducing its theme in octaves. After the struggle towards the light of the 'Lux aeterna', an imperious recitative from the soprano opens the final 'Libera me', which has its own powerful moments, including the solo reprise of the first movement's 'Requiem aeternam', closed by the music from “Dies irae”. The work ends with a prayerful supplication. which has its own powerful moments, including the solo reprise of the first movement's 'Requiem aeternam', closed by the music of the 'Dies irae'. The work ends with a prayerful supplication. which has its own powerful moments, including the solo reprise of the first movement's "Requiem aeternam", closed by the music of the "Dies irae". The work ends with a prayerful supplication.

English

Le Requiem de Verdi de 1837 fût rapidement décrit comme son “dernier opéra”, non sans raison, à cause de ses intenses émotions humaines, de sa force et de sa puissance dramatique pure. S'ouvrant avec une beauté feutrée, imprégnée de chagrin, le "Requiem" initial et le "Kyrie" s'élèvent à des sommets émouvants avant de se terminer sur un espoir serein.

Écrit en réponse angoissée à la mort, en 1873, du romancier et poète italien Alessandro Manzoni, le Requiem de Verdi a rapidement été décrit comme son « dernier opéra », à cause de ses intenses émotions humaines, sa force grandiose et sa puissance dramatique pure. S’ouvrant dans une beauté feutrée, imprégnée de chagrin, le « Requiem » et le « Kyrie » s’élèvent à des sommets émouvants avant de se terminer sur un espoir serein. D’où le choc du « Dies irae », dont la musique d’ouverture cataclysmique sert de tremplin et de fil conducteur à un vaste mouvement dramatiquement tendu, aux couleurs et textures multiples, comprenant le « Tuba mirum », le « Liber scriptus », le « Quid sum miser », le « Rex tremendae », le « Recordare », l' »Ingemisco », le « Confutatis » et, enfin, le « Lacrymosa », dans l' »Amen » duquel Verdi injecte soudain un espoir lumineux en sol majeur. Suivent une lueur chaleureuse dans l' »Offertorium » et une vigueur frénétique dans le « Sanctus » avec ses fanfares de trompettes et sa fugue pour double chœur. L' »Agnus Dei » est une autre ouverture saisissante, avec les solistes soprano et mezzo introduisant seuls son thème en octaves. Après la lutte vers la lumière du « Lux aeterna », un récitatif impérieux de la soprano ouvre le « Libera me » final, qui a ses propres moments puissants, y compris la reprise solo du « Requiem aeternam » du premier mouvement, fermé par la musique du « Dies irae ». L’œuvre s’achève sur une supplication priante.

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