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Messa Da Requiem (Coreografie Di Christian Spuck)
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With the Messa da Requiem, Christian Spuck brought one of Verdis key works to the stage. In a large-scale co-production by the Ballett and Oper Zürich, the German choreograp-her and director ventured to portray an unusual interpretation of Verdis funeral mass in his scenic-choreographic production. 36 dancers, the choir and supplementary choir of the Opernhaus Zürich as well as four highly acclaimed soloists joined together under the direction of Fabio Luisi for 13 wide-ranging scenes dedicated to one of the most fundamental themes of humanity. Christian Spuck does not seek a mere religious interpretation of the liturgical text. Instead, he is interested in focusing on people who, in their vulnerability and helplessness, are in the search for comfort. In poetic tableaux he deals with basic human emotions and focuses on the feelings of fear, rage, pain, sadness and the search for redemption.
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Jansons has some help, of course -- the Bavarian Radio Symphony Orchestra and Choir; a top-tier team of soloists in soprano Krassimira Stoyanova, mezzo-soprano Marina Prudenskaja, tenor Saimir Pirgu, and bass Orlin Anastassev; audio technicians who know how to capture and reproduce natural sound without calling attention to themselves; the adroit video direction to present (in highest quality Blu-ray) such a massive undertaking so that viewers at home feel they have the best seats in the house.
Without the man on the podium, however, those larger efforts go for naught. It is Jansons who draws together the assembled forces into a performance that might never be equaled. Given the sweeping grandeur and intimacy, terror and hope, that make up Verdi's Requiem, that's a statement not to be made or taken lightly.
When he composed the Requiem in 1873-74, Verdi's largest operas -- Aïda and Don Carlo -- were behind him. At age 60, he had nothing left to prove, no commission to fulfill. Prompted by the death of humanist and advocate of Italian unification Alessandro Manzoni, Verdi produced a personal view of the drama of living and dying that transcends his masterpieces for the stage and took the singular step of conducting the Requiem's first performance himself.
Although Verdi employed the traditional text of the Roman Catholic funeral Mass, this is not the pious work of a believer who finds comfort in any vision of eternal life. Verdi was an agnostic. He and the Church were at odds over the course of his career. His Requiem is not a Mass for the dead, but a depiction of the living, of those who wrestle with ultimate issues that have no consolation. The Requiem's final "Libera me" remains unanswered.
Verdi's Requiem has received a variety of performance styles. Daniel Barenboim Requiem [Blu-ray] depicts it as grand opera at La Scala. Lorin Maazel's stern countenance and the setting of St. Mark's in Venice Messa Da Requiem [Blu-ray] offer a liturgical view. At the Hollywood Bowl, with its audience of thousands and huge TV screens Verdi: Messa Da Requiem [Blu-ray], it's an extravagant spectacle under Gustavo Dudamel (whose presence in the Vienna audience here is caught briefly by the camera). Jansons' way is to play it as it lays, which works best of all.
Among Jansons' soloists, Anastassov provides a granite-solid foundation throughout. His intoning of "Mors" in the Sequence, at which point all motion threatens to halt, evokes the sepulchral stillness of "In the Santé Prison" from Shostakovich's death-confronting 14th Symphony. Pirgu's perfectly lofted "Hostias" resounds in the mind long afterward. Prudenskaja (whose Azucena in the recent Il Trovatore with Netrebko and Domingo is a tour de force) impresses at every turn, shining especially in "Lux aeterna."
The work's whole issue is decided in the closing "Libera me," and here, Stoyanova delivers the full measure that's called for. Opening with the rapid chant that's spoken in the Catholic liturgy by male priests, she proceeds -- as Verdi moves us back through the calamities of the "Dies irae" to the opening "Requiem" -- to raise the repeated plea, "Deliver me, deliver me," until it fades into silence.
Called "the world's greatest living conductor" by the Berlin Philharmonic's Sir Simon Rattle, Jansons doesn't flail about and stomp the podium in flamboyant gestures with eye-popping facial expressions. Nor does he simply stand there and beat time. He conducts. Alert to each nuance, he's demonstrative when it's appropriate, restrained when restraint is called for. He lets Verdi's music come through, without feeling the need to interpret it.
For example, is the more lighthearted Sanctus ("Holy, holy, holy ... Hosanna in the highest!") ironic, like the unseen Voice from Heaven singing, "Fly, poor souls, fly up to enjoy the peace of the Lord," in Act III of Don Carlo as the Inquisition burns heretics at the stake? Or is it instead only the brief but necessary interlude before moving on toward the devastating "Libera me"? Jansons plays it straight, leaving that determination to us.
This Arthaus Musik Blu-ray should take every award on the list for this year. Regardless, it wins my nomination for best video recording of anything, anywhere, by anybody.