For a few decades now, Fritz Reiner's recording of the Verdi Requiem (one of his rare stereo recordings not made for RCA, and not with the Chicago Symphony) has lurked in the shadowy corners of Decca's catalog, appearing only on budget LPs and CD two-fers. Now, in its latest incarnation as part of the Decca Legends series, it may at last get the recognition it deserves. Reiner's rendition has several things going for it, not least of which are the superstar soprano and tenor soloists.
Abbado's Verdi recordings are some of the finest available and this Requiem recording is no expection. Abbado takes a less ferocious approach than say Muti, or Barenboim, balancing the dramatic moments effectively against the more introspective aspects of the score. Ricciarelli is in fine form here, singing with a fine sense of line and intense emotional declamation. Her intonation is perfect. Verrett blends seamlessly with Ricciarelli, making the most of their duet and capturing the intense sadness of much of the writing quite well. Domingo, in his first recording of the part, provides a steady stream of golden tone, effortlessly produced. His emotional temperature runs about right here - not overly dramatic - after all, this is not Aida - but strong feelings kept on a tight rein. Ghiaurov is phenomenal.
Herbert von Karajan also often confronted himself with spiritual music. Especially the Mozart, Verdi and Brahms Requiem were always performed in the utmost quality, whereas before all else Verdi's Messa di Requiem demands excellent opera voices.
This recording marks the start of Riccardo Muti's tenure with the Chicago Symphony. It is also his first appearance on the orchestra's own label. Given the reputations of the conductor, the orchestra, and even the label itself, expectations run high are not disappointed. This is as good a Verdi Requiem as you'll find anywhere on disc. It is a distinctive interpretation as well, the work of a conductor who is clearly intent on stamping his identity on his new ensemble. www.classical-cd-reviews.com, October 2010
Compared to the Decca recording, Solti here has the finer chorus, a better orchestra (for this work at least), and strangely enough, better sound, particularly in this admirable new remastering that minimizes the claustrophobic closeness of the original and allows some air to circulate around the performers. Solti’s interpretation remains consistent, exciting, and direct, with a particularly thrilling account of the brief Sanctus and a Dies Irae chorus that is as violent as anyone could want without ever turning merely brutal or hysterical. - David Hurwitz, Classicstoday.com
One of Bernstein's few recorded outings with the London Symphony Orchestra turns out a pretty marvellous account of the Verdi Requiem. It has a young Placido Domingo in the tenor part, and he shines. The other soloists are equally impressive, especially Martina Arroyo in the soprano part. She sings the "Libera Me" with great feeling. Bernstein does go over the top(as usual) in the "Dies irae", but in this case it works and actually adds to the drama. The LSO chorus is quite good too. One of Bernstein's best accomplishments.
Throughout the 1970s, conductor and composer Leonard Bernstein was invited to lead the greatest orchestras of the world in a number of concerts that since such time have become legendary. Now, these historic performances are available on DVD for the first time. This Leonard Bernstein collectors's boxed set is the ultimate concert experience on DVD, and it is also the perfect companion to the Leonard Bernstein's Young People's Concerts DVD set.
A powerful performance by Pappano, who is highly acclaimed for his wonderful performance expression even in religious music works. Rossini: Gloria Mass, Stabat Mater, Small Solemn Mass, Verdi: Requiem, four chants, etc., Britten: War Requiem, etc. 85 tracks / 7 hours recording. Recorded 2000-2021.
The Verdi Messa da Requiem is probably the best known Requiem in the repertoire. Many great conductors have recorded it. I’m thinking of Toscanini at New York/1951, Victor De Sabata at Milan/1954 and probably the best known of all Carlo-Maria Giulini at London/1964-65. Some more recent versions have proved popular notably John Eliot Gardiner using period instruments in London/1992, Claudio Abbado at Berlin/2001 and also Nikolaus Harnoncourt at Vienna/2004.