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Messa Da Requiem

Oralia Dominquez / Gré Brouwenstijn / Giuseppe Zampieri / Nicola Zaccaria

Messa Da Requiem

Price: € 19.95
Format: CD
Label: Globe
UPC: 8711525514102
Catnr: GLO 5141
Release date: 19 August 2002
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2 CD
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Label
Globe
UPC
8711525514102
Catalogue number
GLO 5141
Release date
19 August 2002
Album
Artist(s)
Composer(s)
EN
NL

About the album

This release is also another homage to the great Dutch soprano Gre Brouwenstijn whose singing of the soprano part in the Verdi Requiem remains in our opinion unequalled to this day (as does Oralia Dominguez' performance of the mezzo part!). For music lovers, a recording of Verdi's glorious Requiem Mass is first and foremost a matter of the soloists and conductor and not of "authentic instruments". This is one of the most inspired performances ever, with the soloists ensemble of one's dreams and conducted in the great De Sabata-Toscanini-Giulini tradition!

As a "bonus", this recording offers Gre Brouwenstijn as the outstanding interpreter of three great Verdi operatic heroines, representing three other greatest Verdi roles in the theatre. All three the scenes are prayers in one form or another, and as such they form a suitable "addendum" to theVerdi Requiem and a "must" for the many fans of this unique singer.

Een groots Requiem en een eerbetoon aan Brouwenstijn
Voor muziekliefhebbers gaat het bij een album van Verdi’s glorieuze Messa da Requiem vooral om de solisten en de dirigent, en niet om een eventuele uitvoering op ‘authentieke instrumenten’. Dit is een van de meest bijzondere uitvoeringen ooit, met een droomensemble van solisten, en gedirigeerd in de grootse traditie van De Sabata, Toscanini en Giulini! Het album is daarnaast een eerbetoon aan de grote Nederlandse sopraan Gré Brouwenstijn, wiens uitvoering van de sopraanpartij in het Reqiuem van Verdi tot op de dag van vandaag ongeëvenaard blijft. Hetzelfde kan gezegd worden over Oralia Dominguezs uitvoering van de mezzosopraanpartij!

Bovendien bevat het album als bonus opnames van operascenes gezongen door Brouwenstijn, die op uitstekende wijze drie geweldige heldinnen uit de opera’s van Verdi interpreteert. Alle scenes zijn gebeden in de een of andere vorm, en vormen zo een gepaste bijlage tot het Requiem, en een must voor de vele fans van deze unieke zangeres.

Composer(s)

Giuseppe Verdi

Giuseppe Verdi is viewed as one of the most important, and most popular, opera composers of Italy. Few composers knew how to balance artistic ideals and commericial interersts like him. He was a composer of 'hits', like his 'La donna è mobile' from his opera Rigoletto and his 'Chorus of the Hebrew Slaves' from his opera Nabucco, and he was careful not to have his audience feel bored at any moment. Especially his early works are characterised by strongly propelling, rhytmic power. A common example is his Il Trovatore.  Yet, Verdi was also a composer with ideals. If he would get intrigued by a character, it became his mission to portray to persona as best as he could in the music. This sometimes meant he was forced...
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Giuseppe Verdi is viewed as one of the most important, and most popular, opera composers of Italy. Few composers knew how to balance artistic ideals and commericial interersts like him. He was a composer of 'hits', like his "La donna è mobile" from his opera Rigoletto and his "Chorus of the Hebrew Slaves" from his opera Nabucco, and he was careful not to have his audience feel bored at any moment. Especially his early works are characterised by strongly propelling, rhytmic power. A common example is his Il Trovatore. Yet, Verdi was also a composer with ideals. If he would get intrigued by a character, it became his mission to portray to persona as best as he could in the music. This sometimes meant he was forced to alter or neglect traditional opera forms, like he did in Rigoletto. He was not afraid to touch on socially sensitive matters, which at times led to issues with the establishment. For instance, his opera La traviata turned out to be a controversial one, due to its courtesan heroine. Verdi never engaged in the intellectual discussions on music of his time. He pretended to be a simple man who felt most at home in the countryside. Nonetheless, with the masterful fugal ending of his last opera Falstaff he undoubtedly showed his intellectual level of composing.


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