Uwe Grodd conducts his only religious opera, urging the audience to reflect on life. Photo / Thomas Hamill
Uwe Grodd conducts his only religious opera, urging the audience to reflect on life. Photo / Thomas Hamill
Verdi’s Requiem, inspired by Alessandro Manzoni’s death, is considered Verdi’s most personal work.
Uwe Grodd led Auckland Choral and Auckland Chamber Choir in a powerful performance at the town hall.
Teddy Tahu Rhodes’ performance was criticised for vibrato and tone issues, affecting the overall quartet.
Verdi’s Requiem may well be the most deeply personal of his works. Inspired by the death of Alessandro Manzoni, a much-admired writer and political force, it offered the Italian composer an opportunity for gravitas not always associated with the operatic stage.
Uwe Grodd, before conducting tonight’sperformance by Auckland Choral and Auckland Chamber Choir, brought on a ripple of laughter speaking of this being Verdi’s only religious opera; quickly, and more seriously, we were urged to take time out and reflect on life.
A well-measured Requiem et Kyrie, effortlessly moving from whispers to full-blooded choral magnificence, was an invitation not to be refused.
One could sense adrenalin pulsing throughout a full town hall as Verdi’s Dies Irae dispensed its fire and brimstone, complete with trumpet spectaculars and pounding bass drum. Smaller sections of this massive movement would introduce the four soloists.
Mezzo Katie Trigg‘s Liber scriptus was graced with a shapeliness and intelligence that would mark all her contributions, joining in harmonious duet with soprano Morag Atchison for the Recordare. Atchison, in solo flight, was a force to be reckoned with, right through to the triumph of her Libera Me.
Soprano Morag Atchison in a powerful solo of Libera Me. Photo / Thomas Hamill
Despite Jared Holt’s musicianly phrasing, one longed for more Italianate robustness and less strain in his Ingemisco, in which Verdi’s repeated directives of “very sweetly” were not achieved.
Teddy Tahu Rhodes was a disappointment, especially when memories remain from nine years ago of Joel Amosa’s quiet dignity and beautifully turned lines in this work and venue.
Rhodes’ vibrato-laden voice, combined with a coarseness of tone, perpetrated major damage on Verdi’s lines; the generally well-handled quartet offerings were occasionally marred by it, with a particularly serious lapse in the Offertorio.
Verdi’s Requiem catches Auckland Town Hall in awe. Photo / Thomas Hamill
Verdi’s Requiem is one of the big sings of the choral world and rank upon rank of fired-up choristers realised every inflection that conductor Grodd dealt out to them, splitting into two choirs for an impressive Sanctus.
Pipers Sinfonia, expanded tonight for Verdi’s orchestral demands, also made its commendable contribution, with relatively few passing moments of inevitable exposure.
