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Berlioz: Requiem.(Sound Recording Review)
Berlioz: Requiem. Frank Lopardo, tenor; Robert Spano, Atlanta Symphony Orchestra and Chorus. Telarc CD-80627.
According to the booklet note, Berlioz wrote to a friend, "If I were threatened with the destruction of everything I have created except for one work, I would beg mercy for the Requiem."
Berlioz's Requiem, premiered at the funeral of the Comte de Damremont, the French governor-general of Algeria in 1837, is above all a work of contrasts. Every other movement and, indeed, within movements, we get opposing loud and soft passages, long segments of the most serene composure and sudden eruptions of fire and brimstone.
Frankly, I've never cared overmuch for Berlioz's approach to the death mass--kind of a tedious affair for me--but for those who do enjoy it, and obviously its audience is legion, Robert Spano's new Telarc ...
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...fairly be traced to the exertions of Hector Berlioz (1803-1869), whose dozen or so masterworks...like one another. Jacques Barzun, whose "Berlioz and the Romantic Century" is the cornerstone of Berlioz scholarship, has written that Berlioz...
Source: HighBeam Research, Berlioz: Requiem.(Sound Recording Review)