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Verdi: Messa da Requiem

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Audio CD, September 28, 2010
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Disc 1:

Song TitleArtist Time Price
listen  1. Messa da Requiem: Requiem: Requiem aeternamBarbara Frittoli 9:51Album Only
listen  2. Messa da Requiem: Dies irae: Dies irae, dies illaBarbara Frittoli 2:26$0.99  Buy MP3 
listen  3. Messa da Requiem: Dies irae: Tuba mirumBarbara Frittoli 1:57$0.99  Buy MP3 
listen  4. Messa da Requiem: Dies irae: Mors stupebitBarbara Frittoli 1:25$0.99  Buy MP3 
listen  5. Messa da Requiem: Dies irae: Liber scriptusBarbara Frittoli 5:07$0.99  Buy MP3 
listen  6. Messa da Requiem: Dies irae: Quid sum miserBarbara Frittoli 3:55$0.99  Buy MP3 
listen  7. Messa da Requiem: Dies irae: Rex tremendaeBarbara Frittoli 3:52$0.99  Buy MP3 
listen  8. Messa da Requiem: Dies irae: RecordareBarbara Frittoli 4:19$0.99  Buy MP3 
listen  9. Messa da Requiem: Dies irae: IngemiscoBarbara Frittoli 3:38$0.99  Buy MP3 
listen10. Messa da Requiem: Dies irae: ConfutatisBarbara Frittoli 5:27$0.99  Buy MP3 
listen11. Messa da Requiem: Dies irae: LacrymosaBarbara Frittoli 6:28$0.99  Buy MP3 

Disc 2:

Song TitleArtist Time Price
listen  1. Messa da Requiem: OffertorioBarbara Frittoli10:47Album Only
listen  2. Messa da Requiem: SanctusBarbara Frittoli 2:36$0.99  Buy MP3 
listen  3. Messa da Requiem: Agnus DeiBarbara Frittoli 5:41$0.99  Buy MP3 
listen  4. Messa da Requiem: Lux aeternaBarbara Frittoli 7:00$0.99  Buy MP3 
listen  5. Messa da Requiem: Libera meBarbara Frittoli15:04Album Only

Frequently Bought Together

Verdi: Messa da Requiem + Verdi: Otello
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Product Details

  • Orchestra: Chicago Symphony Orchestra, Chicago Symphony Chorus
  • Conductor: Riccardo Muti
  • Composer: Verdi
  • Audio CD (September 28, 2010)
  • SPARS Code: DDD
  • Number of Discs: 2
  • Label: CSO Resound
  • ASIN: B003WL7EJE
  • Average Customer Review: 3.7 out of 5 stars  See all reviews (17 customer reviews)
  • Amazon Best Sellers Rank: #46,230 in Music (See Top 100 in Music)

Editorial Reviews

Product Description

The Chicago Symphony Orchestra inaugurates Riccardo Muti's tenure as music director with one of the most anticipated releases of the year Verdi's Requiem Mass, featuring the Chicago Symphony Chorus and four outstanding soloists. Recorded live from sold-out, electrifying concerts, this stunning performance brilliantly captures both the pathos and passion of Verdi's masterpiece.


2011 GRAMMY Award winner: Best Classical Album & Best Choral Performance --National Academy of Recording Arts & Sciences, February 2011

Customer Reviews

I've really never heard anything quite like it.
Esteban Molina
Frittoli's Libera Me is certainly heart-felt and dramatic but she just doesn't seem fully in control of her voice, at least at the time of this recording.
In fairness, if there is such a thing as a perfect Verdi Requiem, I haven't found a recording of it.
Yasha Gordon

Most Helpful Customer Reviews

53 of 56 people found the following review helpful By Todd Kay on October 5, 2010
Format: Audio CD Verified Purchase
A few advance notes in the interest of full disclosure: I have awaited the release of this set with unusual eagerness from the time it was announced, shortly after Riccardo Muti's unofficial Chicago "coronation" with two euphorically reviewed Verdi Requiems (of which this is a composite) in January 2009. A player in the CSO whose tenure dates back decades, and who has played for several legendary conductors in his time, told me that the concerts and rehearsals were among the greatest music-making experiences of his life. In addition, the work is a specialty piece of mine; I admire Maestro Muti's Verdi recordings in general, and his first recording of the Requiem (made in London for EMI, 1979) has long been one of my favorites of the stereo years. (His first remake, from 1987, Milan, EMI, I found disappointing, the soloists and Scala forces promising more on paper than the set delivered.) On the basis of all I knew and had heard, I expected one for the ages, but was determined to listen objectively and critically. I can report that in almost every respect, my expectations were either met or exceeded.

More and more over the years, I have come to believe that it is nearly impossible to conduct a great performance of the Verdi Requiem without being an experienced conductor of the Verdi operas. Every recorded Verdi Requiem to which I regularly return meets that criterion. Nothing makes me more skeptical than hearing that some didactic tourist conductor has "scrubbed the work clean of its theatrical elements." I can't imagine a more absurd goal. This is not a Bach motet. As Muti notes in Phillip Huscher's excellent booklet interview, "The Verdi Requiem is a fight between men, women, and God.
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18 of 18 people found the following review helpful By A Liberal's Libretto on October 28, 2010
Format: Audio CD
My very first, knee jerk reaction: the Chicago Symphony Chorus is remarkable. From the first permeating Requiem, they communicate each word with a truly velvety sound through which not only definition, but pathos rings forth. Rich in color, the sopranos don't sacrifice that color as they climb the scale as many soprano sections tend to do... another recording that I have of an English Choir has the sopranos often with a strident straight toned sound that would most likely peel the paint from the walls.

The bass section of this CSO recording truly anchors the overall sound with a darkness and weight that doesn't drag the group down. The overall singing from all sections is healthy, vibrant and the voices are balanced. By balanced, I don't mean between sections... that would be what some consider "blending"... which, to me, is something you do with a cocktail - not a group of voices. What I mean is the singer's voices are balanced individually and within each section giving the sections a commonality of tone.

Their precise use of consonants is extremely effective and not only gives life to the text, but also adds many effects that are present in the music. For example, in the Sanctus portion of the mass, the sibilance is so crisp that it creates almost a percussiveness that brings to mind a distant high-hat.

And then, there's the Dies Irae. For me, Verdi's Dies Irae is the portion of the piece that separates the professionals from the amateurs.

Quantus tremor est futures, quando judex est venturus, cuncta stricte discussurus! (What horror must invade the mind when the approaching judge shall find and sift the deeds of all mankind!) They sing this phrase with such a hushed, yet marked intensity that it is - simply put - heart-stirring.
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19 of 20 people found the following review helpful By Yasha Gordon on March 30, 2011
Format: Audio CD
This performance has drawn a lot of huzzahs from the music press ("a very important addition to the Verdi Requiem catalog," declares Robert Levine at Classics Today). It certainly has its virtues. The first one you notice is the sound, which is phenomenally clear and natural. The Chicago orchestra and chorus more than justify their stellar reputations, especially the latter. The sheer depth and beauty of sound in all four sections is astonishing, and you won't hear the "Sanctus" or the "Libera me" fugue sung with more precision anywhere. Muti is stiff and unyielding in the "Dies irae" and "Tuba mirum", but in general his reading is surprisingly warm and flexible. There's genuine magic in his rapt handling of the "Offertorio" and the momentary sense of stillness he creates at the words "Qui salvandos salvas gratis" in the "Rex tremendae".

But all of this is hard to enjoy when you're faced with the kind of singing on offer from the soloists, who range from barely adequate to barely endurable. At the former end of the spectrum lies Abdrazakov, who at least maintains a reasonably focused tone from beginning to end. But the voice sounds smallish and lacks presence -- after a while, you just forget he's there. Borodina still has some nice sound in the middle range, but the top sounds thin and frayed, the bottom wispy and hollow. Zeffiri has an attractive, sunny tenor that wobbles whenever he sings at any dynamic besides mezzo-forte (the best way to enjoy the "Ingemisco" is to concentrate on the oboist). Frittoli causes the most pain. Like Zeffiri, she sounds OK at mezzo-forte, but the tone is hard and wobbly under any other circumstances. The part's several floated pianissimos are all excruciating.
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