The Great Verdi Requiem

New Zealand Listener, Volume 36, Issue 930, 7 June 1957, Page 5

The Great Verdi Requiem

ONE of the greatest works of its kind, the Verdi Requiem Mass will be presented by the NZBS in both Wellington and Christchurch during June. A notable cast of soloists is headed by the distinguished English tenor Richard Lewis, the choir is the Christchurch Harmonic under their choirmaster Victor Peters, and James Robertson will be conducting the National Orchestra. Verdi composed this work late in his life after the death of the Italian writer Manzoni in 1873. Verdi had a profound regard for Manzoni, and all his life had admired his masterpiece

Betrothed"). He had once written to a friend that "it is more than a book, it is a consolation for mankind! I was 16 years old when I read it for the first time ... still my enthusiasm for the book remains undiminished; indeed, with increasing knowledge of mankind my enthusiasm has grown. And _ that because the book is true; as true as the truth itself." After Manzoni’s death Verdi approached the Mayor of Milan and offered to write a large thoral work in his friend’s honour. "I do not deserve any thanks whatever for my offer. . . It was simply an impulse, or rather a heartfelt need, which compelled me. to do honour to this. great

man according to my best endeavour," he wrote. The offer was accepted and the Requiem was first performed under Verdi’s direction at St. Mark’s Church in Milan and for the next performance transferred to La Scala. It was received with great enthusiasm and parts of the work were encored, "Verdi was always very disappointed in an opera when the arias were not applauded," said James Robertson when discussing the work. Applause in such a work was usual in Italy, but the custom has never caught on in other countries. It is one of Verdi’s few non-operatic works. and in writing it he has inevit-

ably used an operatic style. The work was 8o different from the customary Requiem that it aroused strong criticism throughout Europe, and the comPoser was accused of having written another opera instead of a religious work. Verdi was undisturbed by the hostility for he had written it in the way he knew best, that of the theatre. "It is certainly very thearical, and there’s no attempt to deny it," said James Robertson. "It also has beautiful lyrical passages, is thoroughly sincere, and very dramatic. For an Italian

there is no problem in the work, as without any trouble he simply imagines himself there." Among the brilliant orchestral effects, besides well-known means. of arousing excitement such as the diminished seventh and the rushing chromatic scales, there is what Mr Robertson called "the extraordinary bubbling effect" at the lines "Quantus tremor est futurus," and the dazzling brilliance of the brass in the "Tuba mirum." Extra trumpets will be placed at strate-

gic points in the hall for this section. "The work requires a kind of blazing operatic treatment," said James Robertson, and all the soloists have had operatic experience. Vincente Major (soprano), who was introduced to James Robertson by the Australian tenor Ronald Dowd, sang in last year’s radio opera I] Tabarro. Mona Ross (mezzosoprano) spent the last four years with the Carl Rosa Opera Company, where she sang all the leading mezzo roles,

and is well acquainted with Verdi. Richard Lewis (tenor) is equally at home in oratorio and opera, which makes him particularly at home in this work. Laslo WRogatsy (bass baritone) was a former leading baritone at the State Theatre, Bremen, and has sung this role in England. Since coming to New Zealand in 1952 his roles include "Elijah," the father in Hansel and Gretel, and Michele in Ii Tabarro. The Christchurch Harmonic Society Choir paid a similar visit to Wellington two years ago to sing Belshazzar’s

Feast. "No praise is too high for that performance," said James Robertson, who, at the time, paid tribute to the fine work of their choirmaster, Victor Peters. The order of the Mass, with the sections of the work, is as follows: Requiem and Kyrie, soloists and chorus; Dies Irae (Dies irae, chorus; Tuba mirum, chorus; Liber scriptus, mezzo-soprano and chorus; Quid sum miser, soprano, mezzosoprano and tenor; Rex tremendae, quartet and

chorus; iecordare, soprano and mezzosoprano; Ingemisco, tenor; Confutatis, bass; Lacrymosa, quartet and chorus); Offertorium (quartet); Sanctus (fugue for double chorus); Agnus Dei (soprano, mezzo-soprano and chorus); Lux Aeterna (mezzo-soprano, tenor and bass); Libera Me (soprano solo, chorus and final fugue). The Wellington performance takes place on Saturday, June 15 (YCs, 8.0 p.m.) and the Christchurch performance on Tuesday, June 18 (3YC, 8.0 p.m.)