Customer Reviews

Verdi: Requiem / Sutherland, Horne, Pavarotti, Talvela, Solti

5 star:		(17)
4 star:		(1)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

I must admit, upon hearing this recording, I didn't look to see when it was recorded. I honestly thought that it was probably done in the early 80's. The sound is so good. When I read into the packaging and discovered it was recorded back in the 60's, I was shocked. It's amazing how some recordings can sound so good being that old and others can sound so old. Beyond the spectacular recorded sound of this piece, there are two things that stand out to me, the performers and the orchestra. An all star cast of Pavarotti, Sutherland, and Horne headline as the tenor, soprano, and mezzo-soprano respectively. Pavarotti was at the very height of his singing career. His voice truly glows in this recording. His timbre is certainly not only unique but uncomparable. Joan Sutherland, a personal favorite of mine, contributes a very professional and polished singing to the soprano role, although don't expect to understand her diction very well. She was never one to pronounce things very clearly. Marilyn Horne has such a wonderful voice. It's quite capable of doing much more than the average mezzo-soprano. Particularly impressive is her lower range in this work. All three singers have phrasing and timing that is well timed and rehearsed.

The orchestra is perhaps my favorite aspect of the Verdi Requiem. Everyone knows the Dies Irae whether it be from commercials, movies, cartoons, or actually knowing the work from listening to it. It is of my opinion that the orchestral playing in the Dies Irae can make or break the performance as a whole. If one isn't satisfied with it, they won't be satisfied with the recording as a whole, since the Dies Irae theme is a recurring theme throughout the piece. In this recording, Solti is working with the best orchestra in the world at that time, the Vienna Philharmonic. Known for a big, rich, and at times dark sound, the Vienna Philharmonic plays like they are an orchestra of virtuosos and with Solti at the helm, there is a feeling of urgency throughout the piece. I use urgency not in a bad way. Solti isn't driving the piece faster than it should be. You just get a feeling that there is unrest until the end when there is finally peace. Perhaps, this was the aim Verdi had upon composing the Requiem----not resolving it until the end so as to hint at the prayers to God of rest and solace aren't all in vain and are finally answered.

With that said, I certainly give this a great recommendation. It is truly one of the great works in the repetoire. It has it all, great orchestra, singers, and performance.

Stunning! The sound is audiophile quality. And Solti, displaying more power and fire than all other conductors in what is in my opinion, Verdi's masterpiece. He is just chilling. But beyond that, you hear the piece as for the first time. Your speakers are going to explode in this recording. Reiner, on the other hand, is not as exciting, but he still conducts very beautifully. But unfortunately, that version sounds mono next to this cd's super fine sonics.

As for the cast, Sutherland/Pavarotti/Horne, you don't get any bigger stars than that. But I'm going to compare this with another standard, the famed recording with Reiner that has Price/Bjoeling/Elias.

Sutherland stands alone as the greatest coloratura soprano of the last hundred years or more. And she sings very beautifully here. But we need much more than just extremely gorgeous singing, we need fire! Leontyne Price, in the best voice I've ever heard her, gives us exactly that in the Reiner version. Price completely dominates in that recording, soaring above both ensemble and chorus and orchestra, all the time within even the slightest of strain. The early Price voice (1959), is brilliant, with a very open top, and a mesmerizing and fluttering vibrato. Price sets the standard for all sopranos attempting Verdi's Requiem.

Just as Price sets the standard on the Reiner recording, Pavarotti sets the standard for the tenor solo. Unlike Bjoeling, who sounds thin and effortful, Pavarotti sounds ever so youthful, yielding glorious, ringing high notes. He makes child's play out or the ingemisco. This is the period of Pavarotti's career that can be use as evidence that he is one of the all time greats in the tenor world.(1966)

Horne, too, is without faults as the mezzo solo. I have to admit that Elias also has a lovely voice. But it is Horne who is the more captivating. She almost stole the show! And Horne's low notes are rich and luscious, and creamy. To get another look at Horne's awful virtuosity, I suggest her album of Rossini. It's a must for every opera buff.

So, there you have it, overall, this set is the best, by far, of all the versions out there. But I still won't want to be without Ms Price's contribution in the Reiner set.

This highly operatic requiem shines with the extraordinary talent of the YOUNG Joan Sutherland, Marilyn Horne, Luciano Pavarotti (doesn't even wear his beard, yet) and the late great Martti Talvela. Solti conducts with high energy and appropriate pathos. OUTSTANDING

I love this. Is by far the best version. And incredibly good production for something recorde in the late 60s. How they were able to make it sound like this? Who knows, but is here and all we have to do is enjoy.
The only thing missing is Miss Price. Southerland will always be remembered by us as one of the best (if not the best) colatura soprano of the last century. Her voice is beyond beautiful. Is just sublime. Is true. But Miss Price is better for Verdi although Sutherland is incredible here and is enough at least for me.
Pavarotti...oh Pavarotti. He's in his prime. His voice has an unlimited power without losing his beauty. This is the Pavarotti that people love.
Horne as a Mezzo-Soprano and Martti Talvela a Bass complement everything with their talent. They are not there just "getting the job done". Besides, Horne was a respected figure as well.
Solti's version is by far the best. He directs the Vienna Philharmonic with a passion and a speed that gets your heart to work. Reiner's Version is a good one but it just can't be compared with this.
After the first nine minutes, in which everyone pleases our ears we get ready. Verdi's "Dies Irae" starts. Is one of the most monumental pieces in history. The drums are like a thunder that just crushes your heart. Solti's direction is phenomenal. Dear God is this beautiful. I have to say that even though this 19 year old loves Opera, I'm not a snob but I love this. I may not be able to write a very technical review because of my lack of knowledge about terms related to this but I at least I can express what I feel.
Some people complain that it isn't as beautiful as the other Gregorian Dies Irae. Please. "Dies Irae" is supposed to be the Apocalypse. Ten centuries ago they didn't have the instruments to express it like today therefore that's why they only used their voices. If there's something that can crush a soul, is Verdi's "Dies Irae" and with Solti's version you can appreciate it in a way that none of the other versions can.

I love this piece. It has absolutely everything that made Verdi one of the greatest opera composers.

For those people who do not like the Messa di Requiem because it is too "operatic", I believe they are simply too blinded by what they believe sacred music should be.

The Requiem is so beautifully written with each note have absolute meaning and power as to move one to tears (and as in the Dies Irae, terror!)

The recording itself shows a little age (pre-Digital), but is very vivid in sound and quality. The true star of this recording is the Chorus and Orchestra led by Sir Georg Solti. He keeps tight reign on both and soloists, yet lets the soul of Verdi's music ride to heaven.

Of the four soloists, it is difficult to hi-lite one over the other. All four are in fine, youthful form. Dame Sutherland displays all her prowess and sings with beautiful warmth, although her diction at the time of recording was still a bit mushy as in many of her Opera recordings. Luciano Pavarotti was in his early 30's when he recorded and shows the tenor he would be. The Ingemisco is delivered with true power and meaning. Finnish Bass Martti Talvela is firm and rich in his readings without sounding like a beast. Hard to believe he was a Basso Profundo from this recording. For me, the biggest star of the recording is Marilyn Horne. She had it all in this recording. Absolute control over voice, tone, diction and emotion.

I highly recommend the recording. It just further goes to remind us that there are very few quality singers left and forget about Verdi singers. We'll have to wait for the next golden age....

This is the best Requiem I have heard. The voices blend beautifully and contrast just as beautifully. Conductor Solti really slams through this work. Fantastic. As soon as Pavarotti rings out 'Kyrie', you know you're in for a ride. Try it, you won't be sorry.

The Verdi Requiem has been blessed with the title of the most recorded requiem on disc. There are certainly superior recordings out there. The draw here is the cast, singers who certainly had a following in the heady days of their careers in the 60's and 70's- Joan Sutherland, Marilyn Horne, Luciano Pavarotti, Matti Talvela and conductor Georg Solti. Solti conducts the Vienna Philharmonic with great strength and power, making such fiery portions as the Dies Irae scare the hell out of you. There is no denying the magnitude of this recording, especially because the Vienna forces sound like two loud orchestras playing at the same time. However, there is no real sense of spirituality here and parts that ought to exude a calm divinity fail to do so. Pavarotti is in fine shape but this tenor part was never one I liked to hear him in. His heroic, bright sound shows no real emotion or sense of spirituality, unlike the more God-like lower tones of Talvela. Marilyn Horne is all razzle-dazzle in her mezzo part, though she handles the music quite well and intelligently. Finally, the weak link - Joan Sutherland. There were two operatic roles that were not in her league - Leonora in Trovatore which she also recorded with Marilyn Horne and Puccini's Turandot which she recorded with Pavarotti. The soprano solo part in the Requiem calls for a darker, heavier voice. Sutherland is completely underpowered. Furthermore, she has sloppy diction and is lackluster next to the truer Verdi soprano voices of Leontyne Price. Leontyne's Requiem recording (twice - once for Fritz Reiner in the early 60's and the other for Solti in the 70's with Janet Baker) are exemplary and must-have Requiems. Other well-executed Requiems you should check out as an alternative to this one are the Placido Domingo, Katia Ricciarelli, Nicolai Ghiurov version and the one with Angela Gheorghiu and Roberta Alagna in recent years. Sorry, but this one would have been great if they had cast Leontyne Price rather than Joan Sutherland.

WOW, this is the most exciting recording of Verdi's masterpiece I've ever heard. This is better than the version with Reiner and Bjoeling for three reasons...the singers, the conductor, and the sound. Joan Sutherland has the weight of voice to do justice to the soprano role. At the time of this recording, whatever comes out of this woman throat was spectacular. She has a more beautiful voice than Leontyne Price, but she certainly does not have as much temperament. Pavorotti, the icon sings very beautiful here. As noted by another reviewer he was only in his thirties when this was recorded. In my opinion, Pavorotti has a far more important voice than Bjoeling - it certainly is a more ringing voice. As for Horne, of course she had a gorgeous voice, but for some reason, I prefer Elias. But what makes this recording remarkable is the conducting of Solti and the fantastic sound quality. Wow is all I can say.

His performance on this recording echoes in my head and tells me that Andrea Bocelli must have been inspired by his young voice. No wonder: Pavarotti's young voice sound pretty much the same as Andrea's, only Andrea has held me down practically for good. I even liked Joan Sutherland's read on the end pieces.

While I have only had the opportunity to hear one other version of this piece (Shaw/Atl) I can confidently say this recording does not disapoint. The quartet--which interestingly highlights the bass and mezzo more than the tenor and soprano, I think--is fantastic, as is the chorus, orchestra, and conducting. If this recording could be said to have any flaws, it would be, of course, Suthland's diction; also, Horne's singing is a matter of taste. Personaly, I think there is nothing in the world like those tenoresque lines in the "Liber scriptus." Every word sung by Tavela is beautiful, but I'd have to say the most heartstopping moment is Pavorotti's entrance in the Kyrie--it is absolutely breathtaking.