Verdi’s Requiem still packs a wallop! That’s the conclusion that even the most
jaded observer would give after hearing loud and sustained response from the
standing-room-only audience for the Vancouver Symphony Orchestra’s program on
November 7th at Skyview Concert Hall. Concertgoers immediately rose
to their feet applauding and cheering in recognition of an outstanding
performance by the orchestra under its Music Director Salvador Brotons, guest
soloists and the Portland Symphonic Choir.
Completed in 1873, Verdi wrote the Messa da Requiem
in response to the death of Gioachino Rossini’s death. Its premiere the
following year at St. Mark’s Church in Milan was an immediate success. It has
been a staple of orchestras and some operatic houses ever since. As far as I
know, this was the first time that the VSO has presented Verdi’s monumental
piece.
Noted for its operatic and dramatic style, Verdi’s
Requiem requires singers who have the vocal heft and stamina to project
over a boisterous orchestra. The VSO’s quartet of soloists – soprano Abigail Krawson,
mezzo-soprano Hannah Penn, tenor Brian Cheney, and baritone Anton Belov –
expressed the heights and depths of the piece with elan. The chorus, prepared
by its Artistic Director Dr. Alissa Deeter, sang with conviction and delivered the
vocal fireworks with gusto. The orchestra with Ron Blessinger as guest
concertmaster supported the singers expertly.
The piece opened superbly with the choir’s whispery sound
and well-tapered phrasing establishing a hushed solemn and serious feeling. That
contrasted sharply with the ominous blasts from the bass drum in the fiery
second movement, Dies Irae. Together, the chorus and instrumentalists delivered
a searing warning, and Belov’s resonant voice added gravitas to his solo (“Mors
stupebit et Natura”). The trio for soprano, mezzo-soprano, and tenor (“Quid sum
miser tunc dicturus?”) was well-balanced,
and Krawson soared to a stratospheric high note and caressed it exquisitely.
Penn delivered “Recordare, Jesu pie” sincerely and beautifully, and her duet
with Krawson was intimately earnest. Cheney’s anguished voice made his solo (“Ingemisco tamquam reu”) almost palpable, and
the quartet and chorus created a wonderfully graceful plea (“Pie Jesu domine”) at
the end of the movement.
Highlights of the third movement, Offertorio, included Belov’s
firm “Libera eas de ore leonis,” Cheney’s tender “Hostias et preces tibi Domine”
and a sweet solo passage that Blessinger played. The fourth movement, Sanctus, featured
stellar work by the choir, singing an eight-part fugue for double chorus.
Brotons eschewed the baton for the fifth movement, Agnus
Dei, using only his hands to get a soft, gentle sound from Krawson, Penn, and
the choir. The sixth movement, Lux Aeterna, glowed – even during the final
phrases when Belov used his basso profundo voice.
The choir returned to its terrific hushed sound at the
beginning of the seventh and final movement, Libera Me. All of the forces,
urged on by Broton’s emotive conducting, combined to make a fervent petition,
but the star was Krawson, who sang with mesmerizing intensity.
After the final notes faded into the hall, the audience
erupted with heartfelt applause and a standing ovation that was well-deserved. The choir should have received an endurance
award for standing throughout the concert. It is too bad that the stage does
not have enough room for seats. Perhaps that can be rectified in the future.
Before the concert began, Hal Abramas, VSO Director of Development, spoke about the $300k gift that was successfully matched. It is really great to hear that the community is stepping up financially for the orchestra. Coupled with the two sold-out concerts of Verdi’s Requiem (November 7 and 8), the future of the VSO looks hopeful and bright.
