BBC Proms:絶賛されたVerdi's Requiem

BBC Proms はLondon で真っ盛りのようですが，そのなかでも7月25日のVerdy, Requiem はたいへん好評を博したようです．Verdi’s 'Requiem’ reaches divine heights . Rating: * * * * *　という絶賛の言葉，divine heights の表現が見いだしに含まれています.

今回は，指揮者に Semyon Bychkov，オケにＢＢＣ Symphony Orchestra，合唱団に the BBC Symphony Orchestra Chorus, the BBC National Chorus of Wales, and the London Philharmonic Choir を得て， much hinges on the performance. It needs to be attuned to the music’s hushed intimacy as much as its blazing intensity, and on that level this one succeeded magnificently.　と賞賛されています．

At the very opening, the three choirs intoned the words “Requiem aeternam” with such hesitant awe that one barely registered the sound.

the conductor, Semyon Bychkov, really had the work under his skin. He made it seem urgent and pleading, especially in those moments that in some performances can seem emptily grand, such as the brass fanfares in the “Dies irae”.

much of the credit must go to the marvellous quartet of soloists,soprano Marina Poplavskaya，mezzo-soprano Mariana Pentcheva,Joseph Calleja’s tenor，bass Ferrucio Furlanetto,  all dressed appropriately in black. They were so well contrasted they seemed like an allegory of different human types.

Russian soprano Marina Poplavskaya has one of those voices that pierces you instantly, without being aurally dazzling or seductive. More straightforwardly appealing was Joseph Calleja’s tenor, which, as always, had that laser-like quality of perfect focus.

The most emotionally fraught voice on stage belonged to the Italian bass Ferrucio Furlanetto, who seemed to bring the wisdom of ages to his words. His line “Salve me, fons pietatis” – save me, thou fount of pity – provided the most profound moment of the entire evening.

メゾソプラノは代役だったハンディがありましたが，Her vibrato was distractingly wide, but even so there was a winning warmth about her performance, and she made the perfect contrast to Poplavskaya’s purity in the tender duet of the “Recordare”.　と見事にその役を果たしたようです，

評者は，In all, I felt I was witnessing a classic performance of this great piece. Don’t miss the BBC Four broadcast on August 21.　と結んでいます．

BBC Proms 2011: Prom 13, Verdi's Requiem, Albert Hall, review

Verdi’s 'Requiem’ reaches divine heights . Rating: * * * * *

By Ivan Hewett

6:48PM BST 25 Jul 2011

An opera in disguise is how Verdi’s Requiem is often described, usually with a sneer. But what are these sneerers implying? Are they suggesting that any piece of church music that sounds operatic has to be somehow insincere or too subjective? If that’s so, we’d have to throw out an awful lot of church music from the 18th century onwards, including Mozart’s. And who’s to say a real intimation of the divine can’t be expressed through string tremolandos and brass fanfares and a stirringly dramatic soprano line?

Many would say Verdi’s Requiem achieves that, but much hinges on the performance. It needs to be attuned to the music’s hushed intimacy as much as its blazing intensity, and on that level this one succeeded magnificently.

At the very opening, the three choirs – the BBC Symphony Orchestra Chorus, the BBC National Chorus of Wales, and the London Philharmonic Choir – intoned the words “Requiem aeternam” with such hesitant awe that one barely registered the sound.

As the performance unfolded it became clear that the conductor, Semyon Bychkov, really had the work under his skin. He made it seem urgent and pleading, especially in those moments that in some performances can seem emptily grand, such as the brass fanfares in the “Dies irae”.

But much of the credit must go to the marvellous quartet of soloists, all dressed appropriately in black. They were so well contrasted they seemed like an allegory of different human types.

Russian soprano Marina Poplavskaya has one of those voices that pierces you instantly, without being aurally dazzling or seductive. More straightforwardly appealing was Joseph Calleja’s tenor, which, as always, had that laser-like quality of perfect focus.

The most emotionally fraught voice on stage belonged to the Italian bass Ferrucio Furlanetto, who seemed to bring the wisdom of ages to his words. His line “Salve me, fons pietatis” – save me, thou fount of pity – provided the most profound moment of the entire evening.

The one slightly jarring note came from mezzo-soprano Mariana Pentcheva, who was standing in for an indisposed Sonia Ganassi.

Her vibrato was distractingly wide, but even so there was a winning warmth about her performance, and she made the perfect contrast to Poplavskaya’s purity in the tender duet of the “Recordare”.

In all, I felt I was witnessing a classic performance of this great piece. Don’t miss the BBC Four broadcast on August 21.