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On this CD:
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Messe Solemne (Messa di Gloria) in E flat
Composed by Giuseppe Verdi
Performed by Milan Giuseppe Verdi Symphony Orchestra
with Elisabetta Scano, Cristina Gallardo-Domâs, Sonia Prina, Juan Diego Flórez, Kenneth Tarver, Eldar Aliev
Conducted by Riccardo Chailly
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Qui Tollis in f
Composed by Giuseppe Verdi
Performed by Milan Giuseppe Verdi Symphony Orchestra
with Elisabetta Scano, Cristina Gallardo-Domâs, Sonia Prina, Juan Diego Flórez, Kenneth Tarver, Eldar Aliev
Conducted by Riccardo Chailly
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Tantum Ergo in F
Composed by Giuseppe Verdi
Performed by Milan Giuseppe Verdi Symphony Orchestra
with Elisabetta Scano, Cristina Gallardo-Domâs, Sonia Prina, Juan Diego Flórez, Kenneth Tarver, Eldar Aliev
Conducted by Riccardo Chailly
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Tantum Ergo (1836) in G
Composed by Giuseppe Verdi
Performed by Milan Giuseppe Verdi Symphony Orchestra
with Elisabetta Scano, Cristina Gallardo-Domâs, Sonia Prina, Juan Diego Flórez, Kenneth Tarver, Eldar Aliev
Conducted by Riccardo Chailly
Product Description
Amazon.co.uk Review
With the 2001 Verdi centenary in progress, musicologists and performers have been sweeping out some of the dustier corners of his non-operatic work, and this release is an example. It offers the first ever recording of a recently discovered Mass, written in 1833 when the composer was still studying, together with other religious rarities from his otherwise irreligious pen: some early settings of the Qui Tollis and Tantum Ergo; a much later Pater Noster and Ave Maria, intended to be heard together even though they require different forces; and the free-standing Libera Me that ended up, adapted, as the Verdi Requiem finale. The Mass is inoffensively Rossinian, the Qui Tollis an essay in the style of Mozart; and they give you little sense of what their author would become. But this performance does, in the Qui Tollis, give you the wonderful young bel canto tenor Juan Diego Florez, heard recently at Covent Garden. And as always, Riccardo Chailly conducts with sensitivity to idiom and original intent--which also means that he opens out the scale of sound for the Libera Me, and delivers in the process an electrifying account. Christina Gallardo-Domas is the soloist for that and, along with Florez, adds some flesh and blood to what otherwise might appear collector's repertory. --Michael White
With the 2001 Verdi centenary in progress, musicologists and performers have been sweeping out some of the dustier corners of his non-operatic work, and this release is an example. It offers the first ever recording of a recently discovered Mass, written in 1833 when the composer was still studying, together with other religious rarities from his otherwise irreligious pen: some early settings of the Qui Tollis and Tantum Ergo; a much later Pater Noster and Ave Maria, intended to be heard together even though they require different forces; and the free-standing Libera Me that ended up, adapted, as the Verdi Requiem finale. The Mass is inoffensively Rossinian, the Qui Tollis an essay in the style of Mozart; and they give you little sense of what their author would become. But this performance does, in the Qui Tollis, give you the wonderful young bel canto tenor Juan Diego Florez, heard recently at Covent Garden. And as always, Riccardo Chailly conducts with sensitivity to idiom and original intent--which also means that he opens out the scale of sound for the Libera Me, and delivers in the process an electrifying account. Christina Gallardo-Domas is the soloist for that and, along with Florez, adds some flesh and blood to what otherwise might appear collector's repertory. --Michael White
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