Verdi’s Great Requiem
Grand Opening Concert:
Presented at the Esplanade at the Olympic Park
Kent Nagano, conductor
Leslie Ann Bradley, soprano
Raehann Bryce-Davis, mezzo-soprano
Seungju Mario Bahg, tenor
Ryan Speedo Green, bass-baritone
Andrew Megill, chorus master
Jean-Pascal Hamelin, chorus master
Choir of about 400 singers comprising OSM Chorus and Member-Choirs from the Alliance chorale du Québec
|Chœur Ambitus||Richard Charron|
|Choeur Bella Voce Drummondville||James Copland|
|Choeur polyphonique de Montréal||Louis Lavigueur|
|Grand choeur de Montréal||Martin Dagenais|
|Chœur Maha||Megan Batty|
|Choeur pour les enfants de Ste-Justine||Sylvain Cook|
|Anima Musica||Francis Guérard|
|Chœur classique de Montréal||Louis Lavigueur|
|Choeur du Musée d’art de Joliette||Jean-Pascal Hamelin|
|Chorale Cantabile||Peter Willshe|
|Le Choeur de la Montagne||Julien Proulx|
|Le Choeur de L’Art Neuf||Pierre Barrette|
|Un air de chance||Sylvain Cooke|
Canadian soprano Leslie Ann Bradley “brings the stage to life whenever she sets foot into the spotlight”
The Toronto Star
Verdi’s Great Requiem
“With Him ends the purest, the most holy, the highest of our glories.” Verdi penned these words shortly after the death of novelist, dramatist, and poet Alessandro Manzoni, whose writing helped establish Italian Romanticism and, for many, embodied the ideals of Italian nationhood. Verdi was agnostic but firmly patriotic, and thus he composed the Requiem for the first anniversary of Manzoni’s death in 1874. The Milan premiere featured 120 choristers and four soloists, employed in unique and operatic fashion: sometimes narrators and sometimes individual supplicants, they sing alone, with chorus, and in duets, trios, and quartets.
To the core texts of the Roman Catholic Mass for the Dead, Verdi added the final Libera me—revised from an earlier, failed attempt to assemble a Requiem for Rossini—in addition to expanding the unforgettable Dies irae. This section of the mass goes to terrifying extremes of emotion, beginning with blaring orchestral hammer-blows and stormy, whirling strings, and perpetually returning to the whispered refrain “Dies irae.” Especially memorable are the trumpets stationed apart from the orchestra, calling to those onstage as if with an otherworldly summons. The tearful Lacrymosa comes from a duet originally intended for Don Carlos; indeed, in the words of opera specialist Julian Budden, Verdi poured into this work “all the purely musical resources that he had developed in the course of twenty-six operas.”
© Ariadne Lih
Will the concert be cancelled if it rains?
The show will go on, even if it’s raining! The OSM will not cancel a concert due to rain except in exceptional circumstances such as a thunderstorm. In the event of such an occurrence, we invite you to check our Facebook page or our website for updates.
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