\u00c0 sa cr\u00e9ation en 1874, la Messa da requiem<\/i> de Verdi a \u00e9t\u00e9 d\u00e9crite par le chef d\u2019orchestre Hans von B\u00fclow\u00a0 comme \u00ab\u00a0un op\u00e9ra en habits eccl\u00e9siastiques\u00a0\u00bb. Ce qui \u00e9tait cens\u00e9 \u00eatre une critique d\u00e9crit peut-\u00eatre mieux la qualit\u00e9 la plus v\u00e9n\u00e9r\u00e9e de l\u2019\u0153uvre\u00a0: sa somptueuse th\u00e9\u00e2tralit\u00e9.<\/p>\r\n\r\n
All the fire and fury of the Requiem<\/i>, generally deemed too operatic to be performed in liturgical settings, will be on display April 27 at George Weston Recital Hall, and April 30 at Koerner Hall when the Toronto Mendelssohn Choir presents this masterpiece of the concert repertoire under the baton of Artistic Director Jean-S\u00e9bastien Vall\u00e9e. Members of the Toronto Symphony Orchestra will join the 160-voice choir, and solos will be performed by soprano Teiya Kasahara \u7b20\u539f \u8c9e\u91ce, mezzo-soprano Rose Naggar-Tremblay, tenor Andrew Haji, and bass Geoffrey Sirett.<\/p>\r\n
For all its \u201cgrandeur, operatic flair, and urgency,\u201d Vall\u00e9e believes the Requiem <\/i>to also express a simple, human vulnerability. \u201cVerdi\u2019s Requiem<\/i> stands out for its raw emotional power and gripping intensity,\u201d he says. \u201cIt delves into themes of judgment and repentance, resonating with our innate fears and uncertainties about life and death. Despite moments of hope, it skilfully captures universal doubts and fears, making it timeless and deeply relatable.\u201d<\/p>\r\n
When soprano Teiya Kasahara performs this demanding role, they are seeking to balance emotional authenticity and the technical requirements of Verdi\u2019s distinct style. The composer wrote the oratorio\u2019s conclusion, an extended Libera Me<\/i>, four years prior to the rest of the work, as a personal elegy for his operatic predecessor, Gioachino Rossini. The movement unfolds like a true operatic scena<\/i> and requires heroic vocalism from the soprano who cries \u201cDeliver me, O Lord, from eternal death on that awful day.\u201d<\/p>\r\n
\u201cThis is unlike any oratorio solo that I\u2019ve sung (or heard),\u201d says Kasahara. \u201cIt requires such stamina, pacing, discipline, beauty of tone, and drama, as well as the respect and sincerity of the expression of this liturgical text. It is operatic and not at the same time. I don\u2019t feel as if I\u2019m playing a character\u2014I can bring much more of myself to this role, and be a vessel that reflects our society today when I am performing it.\u201d<\/p>\r\n
The Requiem <\/i>presents unique challenges and possibilities for Vall\u00e9e, as well. \u201cAs a conductor,\u201d he says, \u201cI\u2019m captivated by the emotional depth of Verdi\u2019s Requiem<\/i> and the opportunities it offers for artistic expression. It challenges me to navigate intricate passages and draw out raw emotion from soloists, choir, and orchestra alike.\u201d It is that visceral passion that sets Verdi\u2019s Requiem <\/i>apart from other liturgical works and makes these concerts a cathartic antidote to the troubles and uncertainties of today.<\/p>\r\n The Toronto Mendelssohn Choir, conducted by Jean-S\u00e9bastien Vall\u00e9e, will perform Verdi\u2019s Requiem<\/i> in Toronto on April 27 and 30. www.tmchoir.org<\/strong><\/a><\/p>\r\n<\/blockquote>\r\n\r\n
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