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The French contender in the heavyweight Requiem division
Philadelphia Orchestra's Berlioz Requiem
The showiest offerings on the Philadelphia Orchestra's schedule this season were two super-colossal Berlioz extravaganzas. The Orchestra hadn't played The Damnation of Faust in 20 years, and the Berlioz Requiem is even rarer. Did these two pieces justify the expense their swollen forces impose on the Orchestra's budget?
As I noted in my review of the Orchestra's performance in April, Faust is crammed with musical pleasures. It should be performed more often than once every 20 years. The Requiem is more uneven.
The Requiem contains two episodes that are almost worth the price of admission by themselves. The Dies Irae— the Day of Wrath— is an obvious candidate for a big dramatic treatment, and Berlioz gives it the works. When the extra brass units sounded from the balconies and the chorus and Orchestra started going full blast, the heavens really did open over the audience, and the last trumpet really did split the sky. If the event forecast in the Bible ever takes place, God will have a hard time upstaging Berlioz.
The other highlight is quieter but just as effective. The Sanctu— Holy, Holy, Lord God of Sabaoth— is another great excuse for a rousing chorus, and Berlioz lets the choir cut loose in the Hosannas. But he gives the Sanctu itself to a marvelous tenor solo delivered from the rear of the hall, in the highest balcony.
The featured soloist, Paul Groves, produced a flawless five minutes. His voice filled Verizon Hall, but it didn't strain or bellow. He let it float and flow and colored it with understated shadings and nuances.
The Requiem includes several other good passages, including some fine writing for women's voices, but it contains notable weaknesses, too. The last section drags, and Berlioz fails to convey the serenity you hear in other composers' Dona Nobis Pacem sections.
Verdi, Brahms and Mozart may be the unchallenged titleholders in the heavyweight Requiem division, but Berlioz is the prime contender for the fourth slot. Nobody does the Dies Irae like the French guy.
As I noted in my review of the Orchestra's performance in April, Faust is crammed with musical pleasures. It should be performed more often than once every 20 years. The Requiem is more uneven.
The Requiem contains two episodes that are almost worth the price of admission by themselves. The Dies Irae— the Day of Wrath— is an obvious candidate for a big dramatic treatment, and Berlioz gives it the works. When the extra brass units sounded from the balconies and the chorus and Orchestra started going full blast, the heavens really did open over the audience, and the last trumpet really did split the sky. If the event forecast in the Bible ever takes place, God will have a hard time upstaging Berlioz.
The other highlight is quieter but just as effective. The Sanctu— Holy, Holy, Lord God of Sabaoth— is another great excuse for a rousing chorus, and Berlioz lets the choir cut loose in the Hosannas. But he gives the Sanctu itself to a marvelous tenor solo delivered from the rear of the hall, in the highest balcony.
The featured soloist, Paul Groves, produced a flawless five minutes. His voice filled Verizon Hall, but it didn't strain or bellow. He let it float and flow and colored it with understated shadings and nuances.
The Requiem includes several other good passages, including some fine writing for women's voices, but it contains notable weaknesses, too. The last section drags, and Berlioz fails to convey the serenity you hear in other composers' Dona Nobis Pacem sections.
Verdi, Brahms and Mozart may be the unchallenged titleholders in the heavyweight Requiem division, but Berlioz is the prime contender for the fourth slot. Nobody does the Dies Irae like the French guy.
What, When, Where
Philadelphia Orchestra: Berlioz Requiem. Paul Groves, tenor, with Philadelphia Singers Chorale, chorus; Charles Dutoit, conductor. June 19, 2009 at Verizon Hall, Kimmel Center. (215) 893-1900 or www.philorch.org.
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