D. Verdi "Requiem"
German conductor Hans von Bülow described Verdi’s Requiem as his last opera, only in church robes. He was mistaken only in one thing - "Requiem" did not become the final work of the composer. But, really, this work is called opera in everything except the name - it is so human, emotional and theatrical. "Requiem" combines opera drama, beautiful symphonic and choral passages with virtuoso solo parts.
History of creation and performances
Alessandro Manzoni was for Italy of the 19th century more than a writer. He was a symbol of the Risorgimento - the union of the nation and the scholar who did a lot for the development of the Italian language. One of his sincere admirers was Giuseppe Verdi. Manzoni died at an advanced age in 1873, but for Verdi his death was a real loss. They met in 1868. The composer was so excited by this meeting that he crumpled his hat and could not find words, as if he was not a great musician in Italy, but a simple peasant.
It is worth paying attention to an interesting set of circumstances. In the year that Verdi and Manzoni met, Gioacchino Rossini died. In his honor, Verdi, together with 12 prominent composers, took part in a grand project on the creation of "Requiem". The maestro dropped the lot to write the final part of the work, Libera me. The performance was scheduled for November 13, 1869 - the first anniversary of the death of Rossini. But due to unclear circumstances, 9 days before the premiere, the organizing committee, which was engaged in preparing for the memorable date, rejected “Requiem”. Verdi was outraged, especially since he personally invited his friend, conductor Angelo Mariani, to direct the concert. Maestro spoke sharply on his account and put an end to any of their relationships.
And so, the very next day after Manzoni died, Verdi felt the need to perpetuate his name in music by writing “Requiem”. Initially, the maestro wanted to take "Requiem" by L. Cherubini as a basis - a choral work without soloists, with modest orchestral accompaniment. But in the process, he left this model - in his composition, in addition to the huge choir, the symphony orchestra with its full complement and four soloists are involved. In the style of "Requiem" with his canted vocal parts, most of all resembles the late operas of Verdi, especially his previous work, "Aida". It includes the edited part of the Libera me, from a never-completed work in memory of Rossini. In the interests of the plan, the text of the Catholic Mass had to be slightly reworked. For example, to include in the libretto verses of the Franciscan monk Thomas of Celano, who lived in the 13th century, whose dramatic poem vividly depicted the horrors of hell and the fears of Judgment Day. Perhaps due to the fact that the death of Manzoni became a personal shock for Verdi, Requiem is deprived of its usual spiritual detachment. He is full of living human feelings and acute experiences.
Work on the music took ten months, and exactly one year after the death of the writer, May 22, 1874, "Requiem" was performed in the Milan church of St. Mark. Behind the conductor's stand was the maestro himself. The four soloists were: soprano Theresa Stolz, mezzo-soprano Maria Waldman, tenor Giuseppe Capponi, bass Ormondo Maini. Verdi chose singers with whom he had already worked in his operas. May 25 in the same composition "Requiem" sounded in La Scala.
The writing was a success. Large - in Catholic countries (Italy, France), smaller - in England. Although visited the London premiere of D. B. The show was delighted with the "Requiem", which was subsequently performed at his funeral. A new round of popularity of Verdi's requiem mass brought the 20th century. Now it is performed not only in concert versions, but also in the form of theatrical productions. So, in 2012 the Mariinsky Theater presented the stage version of “Requiem” directed by Daniele Finzi Pasca.
Interesting Facts
- Verdi’s Requiem, along with a similar work by Mozart, are the most performed works in this genre.
- In the years of the creation of the Requiem, Verdi became close with soprano Theresa Stolz. Previously, she sang the Italian premiere of "Don Carlos", "Forces of Destiny", "Aida". And at some point even settled in the estate of the composer. The history did not leave any clear evidence of the novel, except for the acute reaction of Giuseppina, the maestro's wife, to the fact of "life for three". Verdi did not rush between women and put an end to the relationship with the singer. The spice of the episode is due to the fact that right before this, Stoltz broke up the engagement with conductor Mariani - the same one Verdi blamed for the inglorious oblivion of “Requiem” in Rossini.
- In 2001, a live broadcast of “Requiem” was conducted by K. Abbado. The soprano part was performed by the famous Romanian singer Angela Gheorghiu. The performance turned into a scandal - during the concert, at the moment when it was not necessary to sing, Gheorghiu pulled lipstick out of the décolleté, put lipstick on and calmly returned the tube back.
- In November-December 2017, Verdi’s performance at the Metropolitan Opera was dedicated to the memory of the famous baritone Dmitry Hvorostovsky. James Levine stood behind the conductor's stand, soloded K. Stoyanova, E. Semenchuk, A. Antonenko, F. Furlanetto.
Music
Verdi's Requiem had little to do with the restraint and serenity of the Catholic Mass. Actually, it was not written for liturgical purposes. Much more connected with the composer's operas - the energy of melodies and dramatic emotional contrasts. In addition, during the time of Verdi, women could not perform church works, and in the mass of the maestro not only two soloists, but also many chorus girls took part. The orchestral accompaniment uses sophisticated tricks found by Verdi in his mature work. The chorus is involved in action throughout its length, it requires a more significant composition than for an opera production.
"Requiem" consists of 7 canonical parts, but the terrifying motive of Dies irae, Day of Wrath, is repeated several times, as a symbol of the power and inevitability of death. This contrasting effect grows out of Verdi’s best operas. The Requiem opens with a part of Introit and Kyrie, in which the choir and all the soloists are engaged. The second part of the Dies irae paints doomsday paintings, followed by the poetic third part, Offertory. The fourth part of Sanctus is an eight-part fugu for a double chorus, which begins with the trumpets of the trumpets, announcing who will come in the name of the Lord. The fifth part of Agnus Dei, is marked by a charming a capella female duet, the melody of which is supported by the flair of three solo flutes, and then repeated by the choir and the orchestra. Agnus Dei is closest in style to spiritual music. In the sixth part of Lux aeterna, the composer reaches the pinnacles of musical imagery - eternal light literally flows from the pages of the score through the tremolo of the violins. The final section of the Requiem, Libera me, sounds like a hymn to the human soul, asking the gentlemen for deliverance from eternal death on the Day of Judgment.
Famous Numbers
Dies irae (chorus) - listen
Lacrymosa (soloists and choir) - listen
Libera me (soprano and choir) - listen
"Requiem" in the movie
The fact that Requiem didn’t like the clergy - too emotional music - was fully appreciated by cinematographers, taking excerpts from the mass for movie soundtracks:
- "Mad Max: The Road of Fury", 2015
- "White Nights Postman Alexey Tryapitsyna", 2014
- "Django Unchained", 2012
- The Queen, 2006
- "Raindrops on hot rocks", 2000
- "Oil of Lorenzo", 1992
Verdi's Requiem was performed by outstanding singers, some performances remained on the video:
- La Scala, 2012, conductor D. Barenboim, soloists: A. Harteros, E. Garancha, J. Kaufmann, R. Pape
- Albert Hall, 2011, BBC Symphony Orchestra, conductor S. Bychkov, soloists: M. Poplavskaya, M. Pencheva, J. Calleya, F. Furlanetto
- International Festival in Edinburgh, 1982, conductor C. Abbado, soloists: M. Price, D. Norman, H. Carreras, R. Raimondi
- La Scala, 1967, conductor G. von Karajan, soloists: L. Price, F. Cossotto, L. Pavarotti, N. Gyaurov
In conclusion, it is appropriate to quote another great contemporary of Verdi, the English playwright D. B. The show, which said about Requiem: "This is music that penetrates the heart and shakes the soul. It is likely that it will live longer than any of its operas."
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