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Berlioz: Requiem; Boito: Prologue to Mefistofele
 
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Berlioz: Requiem; Boito: Prologue to Mefistofele

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Product details

  • Orchestra: Atlanta Symphony Orchestra
  • Conductor: Robert Shaw
  • Composer: Hector Berlioz, Arrigo Boito, Giuseppe Verdi
  • Audio CD (4 April 2001)
  • SPARS Code: DDD
  • Number of Discs: 2
  • Label: Telarc
  • ASIN: B000003CTJ
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon.co.uk Sales Rank: 45,862 in Music (See Bestsellers in Music)

    Popular in these categories:

    #74 in  Music > Jazz > Labels > Telarc
    #80 in  Music > Opera & Vocal > Choral > Religious > Requiem

Disc: 1
1. I. Requiem Et Kyrie
2. II. Dies Irae
3. III. Quid Sum Miser
4. IV. Rex Tremendae
5. V. Quaerens Me
6. VI. Lacrymosa
7. VII. Offertorium
8. VIII. Hostias
Disc: 2
1. IX. Sanctus - John Aler
2. X. Agnus Dei - John Aler
3. I. Prelude And Chorus - John Cheek
4. II. Instrumental Scherzo And Dramatic Intermezzo
5. III. Vocal Scherzo
6. IV. Final Psalmody
7. Te Deum

On this CD:
  1. Grande messe des morts (Requiem)
    Composed by Hector Berlioz
    Performed by Atlanta Symphony Chorus, Atlanta Symphony Orchestra
    with John Aler
    Conducted by Robert Shaw

  2. Quattro pezzi sacri
    Composed by Giuseppe Verdi
    Performed by Atlanta Symphony Chorus, Atlanta Symphony Orchestra
    Conducted by Robert Shaw

  3. Mefistofele
    Composed by Arrigo Boito
    Performed by Morehouse-Spelman Chorus, Callanwolde Young Singers, Atlanta Symphony Chorus, Atlanta Symphony Orchestra
    with John Cheek
    Conducted by Robert Shaw


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19 of 19 people found the following review helpful:
5.0 out of 5 stars A superb modern performance of the Berlioz Requiem., 11 Dec 2003
By Bob Zeidler (Charlton, MA United States) - See all my reviews
(TOP 500 REVIEWER)   
Two hundred years ago today, Louis-Hector Berlioz was born. This is a day for me to comment on a few of my favorite performances of his works, some of them "favorites by acclamation" and others simply those in which I find special merit, enough so that they are frequently in my CD players.

Berlioz's Requiem is, with Giuseppe Verdi's "Manzoni" Requiem, one of the two great dramatic renderings of this text; works that have stood the test of time. If the Verdi work is the more frequently performed and operatic Requiem, the Berlioz is the more "forward-looking" and not at all lacking in its own drama and grandeur.

One needs to go "back into the vaults" to find a recorded performance of this essential Berlioz work that matches Robert Shaw's stunning version in its balance of sublime beauty and visceral excitement, not to mention its spacious sonics, all the way back to the much earlier performances by Charles Munch and Sir Thomas Beecham in fact. And then, of course, one pays a fairly heavy penalty in terms of sonics.

Despite the resources required, the work hardly lacks for "decent" recordings that are more modern than the Beecham and Munch ones, by such esteemed Berlioz specialists as Sir Colin Davis and Charles Dutoit, as well as by James Levine, Lorin Maazel, Seiji Ozawa and Sir Andre Previn. But "decent" is just not good enough; some of these fail to catch fire in one way or another, and none of them have the choral excellence of this Shaw recording under consideration. Only the Dutoit (in an otherwise curiously unengaging performance) can come close to matching Shaw in terms of recorded sound. (In fairness, I confess to not yet having heard John Eliot Gardiner's recording. It may, in its HIP [historically informed performance] way, be the equal of this Shaw recording.)

Shaw finds the appropriate dynamic contrasts in the work, from the gentlest supplications of the "Sanctus" and "Agnus Dei" to the most violent outbursts of the "Dies irae" and "Rex tremendae." The sound - and the perception of depth and spatial effects - is of demonstration quality, particularly in the "Tuba mirum" section of the "Dies irae," for which four brass bands are disposed at the extreme corners of the recording venue at Atlanta Symphony Hall.

The blazing originality of Berlioz shines through everywhere, not just in the instrumental (and choral) outbursts. The otherworldly effect in the "Hostias" of having flutes and trombones separated by many octaves, to represent the immensity of the distance from Heaven to Hell, is captured perfectly, right down to the trombones' pedal-tone growl (just one of many Berlioz innovations). John Aler, arguably our very best "American French tenor," is splendid in the "Sanctus," and the Shaw chorus, needless to say, is one that is seldom - if ever - topped.

John Aler can also be found on a Delos recording of another Berlioz work in a similar vein, the Te Deum (conducted by Dennis Keene), a recording I recommend highly. Regrettably, Robert Shaw never committed the Berlioz Te Deum to disc; it would have made a perfect filler. (This might be because of the special antiphonal "call and response" requirements between orchestra and organ that Berlioz takes pains to specify. Aler/Keene had the benefit of the Cathedral of St. John the Divine for their recording, a perfect venue for the work.)

But the two fillers in this boxed set - the Prologue to Arrigo Boito's Mefistofele and Verdi's Te Deum - which earlier filled a Telarc LP - are nonetheless excellent "fits" for the Berlioz Requiem.

I can remember, a quarter-century ago, when Norman Treigle "owned" the role of Mefistofele while he was at the New York City Opera (an ownership that was subsequently taken over by Samuel Ramey upon Treigle's unfortunate death by suicide). If John Cheek isn't quite the match for Treigle or Ramey, he doesn't miss by much. And the ASO performance and Telarc recording quality are pretty much assured of shaking your rafters just as well as the dramatic parts of the Berlioz work will.

The Verdi work is equally fine, but not nearly as cataclysmic as his "Manzoni" Requiem or Berlioz's own Te Deum.

The age of these performances (1984 for the Berlioz and 1979 for the fillers) doesn't show a bit. And neither does Berlioz the composer, 200 years old today. Bonne anniversaire, M. Berlioz!

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5 of 5 people found the following review helpful:
5.0 out of 5 stars The best ever Berlioz requiem, 1 April 2006
By H.A.Keir (Melton Mowbray, Leicestershire United Kingdom) - See all my reviews
Of all the versions available, we have to hand it to the Americans for overall clarity of choral singing and orchestral playing. The Colin Davis version is but a poor imitation with weak singing and almost single voices heard from the chorus ( a cardinal sin, surely ! ) Buy the Shaw version and you will be enthralled.
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