Search - Verdi, Victor De Sabata, Elisabeth Schwarzkopf :: Verdi: Requiem

Edward Greenfield wrote in Gramophone

Record Collector | Mons, Belgium | 02/16/2007

(5 out of 5 stars)

""EMI's long-awaited reissue of the 1954 de Sabata version of Verdi's `Requiem' is a unique, incandescent set now making a belated reappearance after 30 years in limbo. Its very unavailability in the catalogue since just after the mid-1960s has tended to add to its legendary status, amply borne out in this CD renovation, in which dynamic extremes are well caught.

"Statistics alone demonstrate how different it is from Serafin's 1939 recording: de Sabata takes no less than 95 minutes over the work, as against Serafin's 73 minutes, an astonishing discrepancy. In the opening movement alone de Sabata takes 6'38'' against Serafin's 4'34'', and the difference is more extreme still in the 'Lacrymosa', 7'18'' against 4'26''.

"The electrically urgent de Sabata--well illustrated in some of the orchestral fill-ups on the set--flashes out only occasionally in sudden dynamic bursts, as in the `Dies Irae'. Otherwise this is a raptly devotional, totally concentrated reading to a degree that would be hard to match. The obvious parallel is the Giulini made ten years after, again with Schwarzkopf as soprano soloist, and with Walter Legge as producer. Yet far more than Giulini's, de Sabata's is a performance of extremes, not just magnetic but very personal in its new look. So the 'Te Decet Hymnus' section of the opening movement is made emphatically marcato with underlining that draws attention to itself. That and dozens of other points which are determinedly different in their exaggeration of markings make me draw a parallel with another Italian conductor, berated by many critics, but always with revelations to bring, Giuseppe Sinopoli.

"Where de Sabata rides triumphant is in his spine-tingling authority, even when you disagree, and the four superb soloists respond with total commitment, Schwarzkopf most of all. The voice is a degree fresher and younger-sounding than ten years later for Giulini, thrilling in attack on top notes, both loud and soft, with many fine-spun top A flats pianissimo, not to mention the top B flat in that 'Requiem' reprise, marked pppp in the score and so interpreted here.

"Oralia Dominguez excels herself, as cleanly focused as Schwarzkopf, with her rapid flicker-vibrato adding character to the firm mezzo timbre. Giuseppe di Stefano sings with headily fresh tone, and de Sabata even woos the occasional mezza voce from him, while Siepi, not quite as rocklike or imaginative as Pinza for Serafin, is splendid too. The chorus sing lustily, but with characteristic Italian reluctance to match in an ensemble.

"The fill-ups complete the picture of de Sabata. The `Traviata' preludes, rapt and finely shaded, were what first suggested the Sinopoli parallel to me, and each of the other items reveals a different facet of this fascinating artist--the Respighi sensuously atmospheric, `Guillaume Tell' given surprising refinement. Best of all are the two little Wolf-Ferrari items, in their point and sparkle deliciously witty in a way one might not have expected from de Sabata. A unique set and a wonderful revelation."



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Voices to die for, and what a superlative performance by all

Abel | Hong Kong | 03/12/2008

(5 out of 5 stars)

"I cannot express how deeply moved and impressed I am by this 1954 historical recording.

Requiem, yes, requiem. You cannot believe how requiems could be as dramatic, colourful, affecting, and last but not least, spiritual as this one.

The orchestra and the chorus acted like one single unit with the conductor and soloists. Listen to the Dies irae - the earth virtually caved in.

Then the ensembles with the four soloists - none other than Elisabeth Schwarzkopf, Giuseppe di Stefano, Oralia Dominguez and Cesare Siepi! What a superstellar cast! well, stars may shine, yet to have a lasting ray as these stars did is a real artistic wonder that could not easily be imaginable these days.

Listen to the Kyrie - the transcendent angelic tenor of Di Stefano leading into Siepi's dark and contrite bass, followed by Schwarkopf's ever pleading soprano, only to resolve into Dominguez's almost weeping like mezzo. What an opening track!

The 'Tuba mirum' begins with excellent brass playing from de Sabata's ethereal orchestra, and Siepi follows with a wonderful bass solo in 'Mors Stupebit', Dominguez's solo mezzo creeping in at a later 'Liber Scriptus'. The 'Quid sum miser' steals your soul away with a wonderful trio between the soprano, tenor and mezzo, resolving into a terrifc chorus. As if not enough already, a full quartet of the sublime soloists followed in 'Rex tremendea', suffocating the listener with an array of other-worldly sounds.

The duets are also beyond description - the 'Recordare' between Dominguez and Schwarzkopf, the 'Agnus Die' between Di Stefano and Schwarzkopf, not to mention other spell-binding later solos in the famous tenor piece 'Ingemisco' of Di Stefano, and the bass 'Confutatis'.

The huge drama of the entire work comes in tracks 12 'Lacrymosa' right through to track 14's 'Hostias'. The quartet of soloists were just unbelievable - you have to hear it to believe it. A totally harmonious and individual (all at the same time!) rendition of the various contrapunctal parts, culminating in a great chorus work of 'Sanctus'.

If the soprano does not have a solo in this piece, go to the last tracks starting from track 18 right to the end. A totally unbelievable interaction between Scharzkopf and de Sabata's big group of orchestra and chorus.

This recording outshined any other choral work currently on record - and this is by no means an over-statement.

I played this piece over and over 7 times last weekend, starting off as nothing but a tribute to the late Giuseppe di Stefano, and ending up totally immersed by the sheer brilliance of this work.



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