RSNO: Verdi Requiem
Usher Hall - 09/06/23
As I took my seat in the Usher Hall for the final concert of the RSNO 2022/23 Season, the Requiem by Giuseppe Verdi, it occurred to me that the last time I heard this great work as an audience member was probably also the first time, a performance by the great Italian maestro, Carlo Maria Giulini, in the Edinburgh Festival in the mid 1970s. In the interim, I have sung the bass solos in well over 20 performances in venues ranging from the Festival Hall in London, through the Royal Memorial Chapel of the British Army in Sandhurst, through Bath Abbey to the Younger Hall in St Andrews. The prospect was mouth-watering, with Thomas Søndergård conducting the RSNO, the augmented RSNO Chorus and a fine line-up of soloists.
There was a last minute hitch, as two of the soloists had to be replaced, and this could have been a disaster, as the soloists play a huge role in any performance of the Requiem. It did upset the balance somewhat, but in the long run, it didn’t detract from what was a simply superb performance.
Verdi was at the height of his powers, in 1871, with the success of the Cairo premiere of his opera, ‘Aida’, when he announced his retiral from composing. He had written a ‘Libera me’ in 1869 as part of a multi composer tribute to Rossini, who had died the year before, but the project had been abandoned. The death in 1873 of the writer Alessandro Manzoni, a friend, and a writer much admired by Verdi, prompted the composer to develop his Libera me into a complete Requiem to commemorate his memory, and in May 1874, the new work was premiered in the church of San Marco in Milan, followed by three performances at the Teatro alla Scala in the same city, with Verdi conducting. The soloists had all appeared in the European premiere of ‘Aida’ at La Scala in 1872, apart from the tenor Capponi, who was booked as Radames but had been ill, so it was clear that the composer had top opera soloists in mind for the new Requiem. The work was a huge success, although there were some critics who were unable to cope with the overt theatricality of the setting. Verdi was not a pious person, and manifestly a man of the theatre, so the template for his setting of the requiem mass was hardly surprising, and it is indeed its fabulous dramatic qualities which endear the work to an audience now. It is not easy, and it needs the right approach from both conductor and performers, and a total commitment to its message of terror in the face of death, but also hope in the afterlife. It is also a tremendous show piece for everyone involved, and last night’s performance was fantastic. If anyone needed to be reminded that the RSNO is now a world class orchestra, conducted by a world class maestro in Thomas Søndergård, this concert confirmed the fact.
From the superbly hushed opening Requiem Aeternam, with strings and pianissimo chorus awed by the presence of death, to the thunderous Dies Irae, with its utterly terrifying portrayal of the last judgement, we were taken on a musical journey of the very highest standard. The RSNO Chorus, augmented by students from the Royal Conservatoire of Scotland and the Garleton Singers, based in East Lothian, had been very well prepared by their director, Stephen Doughty, who took over the role of Chorus Director at the beginning of this season. Their sound was magnificent, and their stands and sits were superbly choreographed.
The various orchestral principals played their parts to perfection, notably Katherine Bryan (Flute), David Hubbard (Bassoon) and John Whitener, who thrilled us with his Cimbasso, a low brass instrument like a bass trombone, which evolved as the deepest brass sound in mid 19 th century Italian opera orchestras. The great bass drum in the Dies Irae, one of the most fabulous sounds in all music, was played with great gusto, and the whole trumpet section, augmented by four offstage players, brought apocalyptic magnificence to the Tuba Mirum.
Of the four soloists, only the tenor failed to impress. Since he was a last minute stand-in, one cannot be over-critical, but he seemed ill at ease throughout, resorting to vague hand gestures at times. Still he sang all the notes, but lacked Italianate flair. The Georgian bass, George Andguladze, possessed flair in spades, with a big impressive voice, even throughout the range. This is a proper Verdian bass voice, and he was also very accurate. Since I know every note of his part myself, the best compliment I can give is to say that he was spot on and sang brilliantly. I am not known for liking other basses, but George was terrific!
Both the women were exceptional. The Swiss soprano Gabriela Scherer, also stepping in at the last minute, gave a revelatory reading of the part, strong and committed at every moment, rising easily above all the other voices, and commanding our attention throughout. Her top B flat in the last movement, so exposed, was perfect, followed by the big top C which is the climax of the whole movement. Her poise and controlled demeanour made it a comfortable experience for the audience, a special treat, as a stand in can often inspire nervousness all around. Brava Gabriela!
The revelation for me was the English mezzo-soprano, Jennifer Johnston, who I had not heard before. What a performance, and what a singer! From her CV, it appears that she has forged a great career in Europe, particularly in Munich, and has appeared infrequently in Britain. She is singing at Glyndebourne this summer, and I am sure we’ll be hearing much more from her. With a big range, (fierce low notes reaching up to luminous top ones), she is the finished article, and she dominated this performance of the Verdi Requiem from the beginning.
As ever, Thomas Søndergård controlled the show, with his dynamic yet discrete conducting, and his moulding of the words, particularly the chorus’s, was a revelation. Speeds were well-judged throughout, occasionally allowing expressive freedom to the soloists, at other times driving them on to greater heights.
This was a fitting end to an excellent season, and next season promises much, although I am a little sad to see there is no Bruckner or Mahler. These composers’ symphonies are high points of the orchestral repertoire, and their lack is a shame. I have a final plea for more light in the auditorium during the concerts. It is maddening not to be able to see our programmes!
