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LSO Live captures exceptional performances from the finest musicians using the latest high-density recording technology. The result? Sensational sound quality and definitive interpretations combined with the energy and emotion that you can only experience live in the concert hall. LSO Live lets everyone, everywhere, feel the excitement in the world’s greatest music. For more information visit lso.co.uk Verdi LSO Live témoigne de concerts d’exception, donnés par les musiciens les plus remarquables et restitués grâce aux techniques les plus modernes de l’enregistrement Requiem haute-définition. La qualité sonore impressionnante entourant ces interprétations d’anthologie se double de l’énergie et de l’émotion que seuls les concerts en direct peuvent offrit. LSO Live permet à chacun, en toute circonstance, de vivre cette passion intense au travers des plus grandes oeuvresdu répertoire. Pour plus d’informations, rendez vous sur le site lso.co.uk Gianandrea LSO Live fängt unter Einsatz der neuesten High-Density Aufnahmetechnik Noseda außerordentliche Darbietungen der besten Musiker ein. Das Ergebnis? Sensationelle Klangqualität und maßgebliche Interpretationen, gepaart mit der Energie und ErikaErikak GrimaldiGriimaldi Gefühlstiefe, die man nur live im Konzertsaal erleben kann. LSO Live lässt Daniela Barcellona jedermann an der aufregendsten, herrlichsten Musik dieser Welt teilhaben. Francesco Meli Wenn Sie mehr erfahren möchten, schauen Sie bei uns herein: lso.co.uk Michele Pertusi Simon Halsey London Symphony Chorus LSO0800 Giuseppe Verdi (1813–1901) Track Listing Requiem (1874) No 1 Requiem and Kyrie Gianandrea Noseda conductor 1 Requiem aeternam & Kyrie eleison 7’41’’ Erika Grimaldi soprano No 2 Dies Irae Daniela Barcellona mezzo-soprano 2 i. Dies irae 2’00’’ Francesco Meli tenor 3 ii. Tuba mirum 1’44’’ Michele Pertusi bass 4 iii. Mors stupebit 1’24’’ Simon Halsey chorus director 5 iv. Liber scriptus 4’34’’ London Symphony Chorus 6 v. Quid sum miser 3’21’’ London Symphony Orchestra 7 vi. Rex tremendae 3’02’’ 8 vii. Recordare 3’55’’ 9 viii. Ingemisco 3’43’’ 10 ix. Confutatis 5’01’’ 11 x. Lacrymosa 5’28’’ No 3 Offertorium 12 i. Domine Jesu Christe 4’18’’ 13 ii. Hostias 5’24’’ 14 No 4 Sanctus 2’29’’ Recorded live in DSD 128fs, 18 & 20 September 2016 at the Barbican, London Concerts generously supported by LSO Principal Partner, Reignwood 15 No 5 Agnus Dei 5’08’’ Nicholas Parker producer & audio editor 16 No 6 Lux aeterna 5’44’’ Classic Sound Ltd recording, editing and mastering facilities No 7 Libera me Neil Hutchinson for Classic Sound Ltd balance engineer, audio editor, mixing and mastering engineer Jonathan Stokes for Classic Sound Ltd recording engineer 17 i. Libera me 2’11’’ Super Audio layer includes 2.0 stereo and 5.1 multi-channel mixes 18 ii. Dies irae 2’06’’ 19 iii. Requiem aeternam 2’55’’ Booklet notes / Notes de programme / Einführungstexte © David Cairns 20 iv. Libera me 5’37’’ Translation into French / Traduction en français – Claire Delamarche Translation into German / Übersetzung aus dem Englischen – Elke Hockings Total 77’55’’ 3 respond to the liturgy as the dramatist he was and Death and fear pervade the work. As someone who, cataclysmic music of the opening, which recurs at Giuseppe Verdi (1813–1901) by using the personal language he had evolved while in D'Annunzio's phrase, 'wept for all', Verdi could intervals, its mood of terror pervading the intervening Requiem (1874) composing a score of operas. But the sound-quality express humanity's feelings about it with ample quieter sections. Verdi evokes the tumult of the and texture and whole feel of the work is as unique authority. Hell, he knew, was something human Last Judgment by means of four thunderous chords, Verdi did not feel the death of Alessandro Manzoni and as diff erent from La traviata or Don Carlos as beings can carry in themselves, and infl ict on others. a jagged rising phrase, a wailing chant lurching any less keenly because Manzoni was a very old they are from each other. And perhaps none of And death was in the air: Manzoni palpably a dying backwards and forwards, giant bass-drum blows man. It was a grievous blow. He had long had a the works written before it had been so perfectly man some years before his long life ended in 1873, on the off beat, precipitous woodwind scales, strings reverence, almost amounting to idolatry, for the fashioned, so consistently strong in inspiration, so Rossini dead in 1868 (Verdi's 'Libera Me' originated tremolando, uprushes of violins, and rapid rhythmic eminent Italian novelist and poet. He had admired lofty in aim and achievement (even if the gaiety of as a movement contributed to an abortive project fi gures splayed out by the trumpets. The music him from a distance and, when a meeting was the Sanctus may at fi rst disconcert the non-Italian). for a mass in his honour), Verdi's father dead, dies down to a shudder of strings, fragmentary fi nally arranged, he was moved to the depths. The Requiem used to be called 'Verdi's greatest followed by his beloved father-in-law and benefactor scales bubbling up on clarinets and bassoons, and 'How shall I describe the extraordinary, indefi nable opera'. Why not? As a sneer the remark is Antonio Barezzi. The Requiem is, among other awestruck repeated notes from the chorus. Then sensation I felt in the presence of your "saint"?', meaningless; as a splendid compliment it is not things, the passionate protest of a man who rebels the air is thick with trumpets answering each he wrote to Countess Clarina Maff ei. 'I would have far short of the truth. What is the text of the against the outrage that is death. Boito experienced other across the universe, and the crisis is upon gone down on my knees if one could worship men'. 'Dies irae' if not operatic? a similar feeling when he watched Verdi on his death- us. Abruptly it breaks off and the solo bass, with Earlier, he had tried to explain what it was he felt bed: 'Never have I had such a feeling of hatred bass drum, tells how Death and Nature itself shall about him. Manzoni, he said, had written 'not The Requiem is certainly not religious in an orthodox against death, of contempt for that mysterious, stand amazed when the great Judge appears. only the greatest book of our time but one of the way. Neither is Brahms's, nor Berlioz's Grande Messe blind, stupid, triumphant and craven power … 'Liber scriptus', a long, passionate solo for mezzo- greatest books that the human mind has produced des morts. Even in Beethoven's Missa Solemnis He too hated it, for he was the most powerful soprano, wonderfully scored, follows – the choral [I Promessi Sposi ('The Betrothed')]. It's not just God is in a sense the projection, the creation of expression of life that it is possible to imagine'. interjections, descending chromatic phrases, and a book, it's a consolation to humanity. I was 16 human fears and longings. Like Berlioz, Verdi was increasingly heavy, dragging rhythm, all showing when I fi rst read it. Since then … if anything my a humanist who retained a poignant regret for his Requiem and Kyrie that 'Dies irae' is gathering itself for a return, this experience of men has made me admire it all the childhood beliefs. But he had little use for the The opening is hushed, as muted cellos, then all time in shortened form. more – because it's a true book … Oh, if artists historical church (listen to the Grand Inquisitor's the strings, play a slow, falling theme in A minor, could but understand that "true", there would be scene in Don Carlos or the gloomy, brutish music against muttered pleas of 'Requiem', and the The succeeding verses are: 'Quid sum miser', a lovely, no more composers of the future or composers of that accompanies the procession of condemned chorus continuing to intone sotto voce against the plaintive trio with desolate bassoon obbligato; the past, no puristic, realistic or idealistic painters, heretics in the same work); and the criticisms that orchestra's more expansive melodic line. At 'Kyrie, 'Rex tremendae', alternating a majestic dotted no poets classic or romantic, but true poets, true emanated from the Catholic hierarchy when Manzoni eleison' the soloists enter in turn, to an exalted theme theme for the basses with a wide-spanned phrase painters, true composers'. died did not dispose Verdi any more gently towards which soars up over a chromatically descending ('salva me'), the two together building to a mighty it. 'Not a Catholic in the political and strictly bass, the music rising three times to climaxes of climax; 'Recordare', a duet for soprano and mezzo This was Verdi's creed as an artist, and the Requiem theological sense of the word – nothing could be thrilling beauty. The end is again hushed, though in F major, with a repeated woodwind C, its rhythm Mass he wrote as a tribute to Manzoni and further from the truth', was Boito's verdict. As a chord of F major strikes across the A major tonality taken from the preceding cries of 'salva me'; performed in 1874 on the fi rst anniversary of Verdi's wife Giuseppina remarked, 'the science, like the sudden lifting of a curtain. 'Ingemisco', a lyrical tenor solo, with a moment of his death is the fruit of it – whatever the critics' the sophisms, the metaphysical subtleties of the profound peace at 'inter oves', where the melodies' subsequent attempts to reduce it to a category, theologians and the learned of all the religions of Dies irae anxious chromatic movement is stilled and the oboe labelled theatrical or operatic.

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