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Verdi: Requiem

Verdi: Requiem

22 novembre 2007

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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: 4.5 étoiles sur 5 13 commentaires
21 internautes sur 23 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 So Hot It May Leave Your CD Player Smoking! 12 décembre 2001
Par Timothy Dougal - Publié sur Amazon.com
Format: CD
This CD was recorded in 1954 at Jesus Christus Kirche in no-apologies, first-rate mono. The remastering is wonderful, and the modern listener needs little in the way of adjustment to the sound, which some modern engineers would do well to emulate. It is also 75 minutes long and is nicely contained on one disc.
But enough of recording technique. The star of this CD is the performance, which requires words like burning, rapturous, shimmering, breathlessly urgent, and thrilling. I can hardly describe how delighted I have been with this CD over the last few years, or what a surprise it was to hear a performance of such intensity and transcendance that it wiped the two-disc digital recordings I had previously heard completely from my memory. I love Fricsay and company's reading as I have never loved Verdi before.
13 internautes sur 14 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Exhilarating 1953 Verdi Requiem 12 avril 2007
Par pyramidcvv - Publié sur Amazon.com
Format: CD Achat vérifié
Ferenc Fricsay, the first music director of the RIAS Symphonie Orchester Berlin, is described in the liner notes as a deeply religious musician who was absolutely determined not to make this Verdi Requiem recording sound operatic. Well, I'm not sure he succeeded, at least not to this listener's ears.

The reason: the fast tempos.

At 75'28", this is undoubtedly one of the fastest Verdi Requiems on record. Perhaps the conductor thought this would provide a more spiritual sound, but in fact the opposite has taken place. The breakneck speed has instead amplified the very operatic drama that Fricsay was trying to suppress, resulting in one of the most electrifying readings of the Verdi Requiem around.

I was hesitant about the turbo-charged Dies Irae since I adore the choral and brass work. But to my delight, the lighting tempo really worked. The notes whizzed past my ear, of course, but I was still able to catch all the overwhelming power that Verdi intended.

The only part where I thought the fast tempos didn't work was in the Agnus Dei. This has always been a point of repose for me in a work already brimming with excitement. But Fricsay's Agnus Dei just sounded too rushed and frantic for my taste.

In general, I found the soloists quite satisfactory. However, I thought Helmut Krebs' "Ingemisco" sounded a bit lightweight. "Ingemisco" is a plea for divine rescue from undying hellfire. But it sounded more like an Irish ditty by John McCormack.

The recorded sound is 1953 mono, but still works well. The pronunciation is literally a mixed bag: the chorus sings in Italian Latin, but the soloists use German Latin (requiem "ray-kvee-em", luceat "loo-tse-at").

This is a very, very exciting rendition of the Verdi Requiem that is sure to inspire repeated hearings. On top of that, it is available at a budget price. Liner notes include texts and translations and some interesting history behind the recording.

Highly recommended.
14 internautes sur 16 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A stunning recording of verdi's masterpiece 3 mai 2000
Par leonardo - Publié sur Amazon.com
Format: CD
The DG label has well gathered this recording together with the great recordings of the century in "The original" series. Nothing more correct than this: why? Because the musical quality still remains alive,for the terrific intensity and passion that spreads through the great climaxes of the work, besides the stylish singing (unforgetable girlish stader, secure radev,refined borg and tenor)and conducting (fast but not forced tempi), makes this recording, for me, one of the best choices. The fast tempi I have mentioned is not a detail,because it lets the work come in 1 CD (which is not common, infortunately)and proves how wrongly other conductors concieve this work and how "original" Fricsay behaves.(It is interesting that John Eliot Gardiner, one of the champions of the present "historicist" fashion -that favours fast tempi- achieves a 10 minutes longer recording). The recording dates from 1954 in Jesus Christ Church in Berlin, and you can realize how the recording respects the different acoustic layers (eg the trumpets in "Tuba Mirum"). However,the definition is not always good (is a 1954' ! )and so in the climaxes you can appreciate the passion, not the details.
5 internautes sur 5 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 I'm simply stunned at the audio quality of this 1954 recording 18 août 2011
Par jt52 - Publié sur Amazon.com
Format: CD Achat vérifié
When I recently purchased this CD from amazon, I was expecting a very striking performance of a piece I adore in frankly dated sound, a "historical" issue that I would enjoy while making allowances for the hiss and distortion present in even the good recordings from this era. With that in mind, I popped it into my pretty good family room stereo system - and was surprised. There was very little distortion, the sound color was varied and vivid, the soundstage (the 3-D simulation created by stereo equipment) was big. Could this recording really be from 1954? So I took it upstairs to my main system, which is highly resolving and comes close to costing as much as a used car. Well, the CD sounded great on this system as well: full-bodied, almost imperceptible hiss, three-dimensional (check out the beginning of the "Lux aeterna" (track 14)!), very dynamic. Heck, I wish many of my 1980s and 1990s digital efforts sounded as good as this CD. This is one the very best pre-1960 recordings I have ever heard judged on an engineering level.

What's important about the cutting-edge engineering is that it brings to life a performance of the Requiem led by Fricsay that is amazing. It sweeps you away with its power and technical accomplishment. Just listen to the staggered entrance of the four soloists in the opening movement and I think you will instinctively know what I am talking about. Each of the four soloists - Maria Stader (soprano - a long-time collaborator with Fricsay), Marianna Radev (a mezzo with an old-fashioned sound, but great musicality), Kim Borg (tenor) and Helmut Krebs (bass) - are at times brilliant. Fricsay leads a passionate performance by the chorus and orchestra. I also want to point to just crack brass playing by the Berlin RIAS section. Fricsay sometimes does things differently: his Offertorium (track 11) is much quicker than I am used to, for example. But there's conviction and musicality in every corner of this great rendition.

This is a recording that is a credit to everyone involved in - from Giuseppe (who means every note he writes) to the musicians to the remastering engineers. 5 stars with an exclamation point.
6 internautes sur 7 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Great....except the bass drum 24 août 2005
Par Musician44 - Publié sur Amazon.com
Format: CD
This is a truly great recording of Verdi's emotional Requiem, and I'll not try to add to the other reviews here. However, I do have one little quibble: the bass drum solos in the Dies Irae sections are not played forcefully enough. They are a somewhat unexciting "boom" instead of an earth-shaking "SLAM," as in Shaw's and Solti's recordings. This is, as I said, a minor point, but if you're a percussionist like me it can get on your nerves. I recommend getting the Fricsay along with the Shaw or Solti, because apart from the bass drum and the dated mono sound it is a great recording.
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