Customer Reviews

War Requiem

5 star:		(9)
4 star:		(1)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

I can't believe how extraordinary this performance is. To think that Conductor Robert Shafer is creating this level of artistry and musical expression with all-vonluteer choruses (The Washington Chorus, The Shenandoah Conservatory Chorus, and the Maryland Boys' Choir)is so heartening. The War Requiem is a mammoth piece--both physically and emotionally--with two separate orchestras, three choirs, and three soloists. It is a profoundly moving testament to the horrors and iniquities of war and to the millions of soldiers who died in World War I and II trying to make sense of it all. With the ethereal tenderness of the boy choir, the purity of tone in the women's sections, and the power and weight of the men's voices, Shafer is able to draw upon the full range of vocal expression--from sheer terror to welcome tranquillity. I loved all the soloists, especially Christine Goerke, soprano. The War Requiem is a masterpiece of choral writing and Britten would be very pleased, I think, to know that his work is performed here with the virtuosity and depth of feeling it so deserves. Anybody know of other recordings by this group?

I ordered this CD because I found out that it had been nominated for the 2000 Grammy Awards in the Best Choral Performance category - if I could vote, this CD would definitely be the winner. You would never believe that this is a live recording - the soloists (especially the soprano)and orchestra are spectacular and the chorus is phenomenal. I own a copy of Shaw's recording that is technically brilliant and I think that this recording not only matches that technicality but also has far more feeling and emotion. This is a wonderful recording and I highly recommend it.

This recent Grammy Award Winning CD of Britten's "War Requiem", under the baton of Maestro Robert Shafer, uses the combined efforts of The Washington Chorus, The Shenandoah Conservatory Choir, and The Maryland Boys' Choir to bring us a truly full-bodied rendition of a most powerful and moving Requiem, not nearly heard or recorded enough.

This under ninety-minute piece gives us the full depth and sweeping emotions of the highly sullen and foreboding sound clearly intended by the composer.

From the opening quiet chanting by the choir of "Requiem aeternam", underscored by the ominous peal of bells, the Mass begins with the unsettling melodic mood, complete with diabolic connotations of medieval times. The Chorus, boys' choir and tenor, Richard Clement are blended well.

Continuing the second and longest movement, the "Dies Irae", widens the horrors of war, blending baritone, Richard Stilwell, soprano, Christine Goerke, tenor Clement and the choir and chorus, in a wide sweep from ominous early stillness to portentous brass fanfares, foreshadowing the Day of Judgement, only to be concluded by the peaceful textures of the "Pie Jesu".

Movement three, "Offertorium", sung only by the boys' choir and the organ at the opening, ecompasses a dramatic aura, if much shorter (10 minutes), bringing us again, the threatening harken of the tragedy to come, as highlighted by the male soloists heard in an unsettling soft and then hard rumblings of the future.

The final three movements, "Sanctus", "Agnus Dei", and "Libera me" bring us fuller layers of texture to the work.

"Sanctus", Movement 4, starts with a brilliant soprano statement, fully articulated by Christine Goerke, followed by the chorus, reminding the faithful that God's covenant with them shall be fulfilled. It then chillingly goes to a "blast of lightening from the East", as sung desparingly by the full rich baritones of Stilwell, concluding the movement.

Movement 5, "Agnus Dei", blends tenor with soft and hope-filled sounds of the chorus, before the moving final solo prayer, "Dona nobis pacem".

In "Libera Me", the 6th and final movement, starting as a slow march, it gradually progresses. The performance forces are united for the first time in the final transcendant glory of "May the angels lead you into paradise" ( "In Paradisum deducant te Angeli" ), as the work moves tranquilly to the final "May they rest in final peace" ( "Requiescent in pace. Amen" )

Full credit for this master re-creation goes to all, but, particularly, to Washington Chorus Conductor, Robert Shafer, who put this inspiring award-winning work together with his own orchestra and chorus, in conjunction with The Shenandoah and Maryland Boys' Choirs, and the three marvelously well-blended soloists aforementioned.

I have truly enjoyed repeated listens to this welcome re-release (from April 14, 1995), which was lovingly brought to us and dedicated specifically to the memory of John R. Ross, a fallen Air Force combat veteran and beloved former Washingon Chorus member; and to all those who have or will have to face the horrors of war. Bill Ritchie

I was in the fifth grade when I performed in this concert with my fellow choir members. It was one of the best concerts I have ever been involved in. Director's Robert Shafer, Joan Mcfarland, and Betty Scott should be congratulated for this magnificent CD. At the time the concert and music had very little affect on me. Now, however, I'm in the tenth grade and I truly do appreciate this CD. This CD is one that every classical music fan should buy. It is truly a masterpiece.

I've known this work since it was issued in the 1960s and have heard several live performances of it, including this one. This is a recording not to be missed. It is no coincidence that the recent Grammy Awards bipassed several excellent condidates, including Robert Shaw's recording of Dvorak's "Stabat Mater" to honor this locally produced disk.

The Britten War Requiem has always been a piece that is dear to my heart. According to my parents, I was actually present during the US premiere of the piece, though I don't remember since I was 6 months old. At the age of ten I heard a performance at my local college and was completely bowled over. It captured my own budding pacifism perfectly.

As such a fan, I am pretty picky about my War Requiem renditions. I grew up with the supreme London recording with Britten conducting and Pears, Fischer-Diskau and Vishnevskaya as soloists. This recording must be considered definative and it's sound is still remarkable 40 years later. But Robert Schaeffer's reading with the Washington Chorus is very nearly as good. This is particularly amazing since there are no "name" performers anywhere on the CD. The Washington Chorus is an all-volunteer organization and the soloists are professional, but locally based Washington DC performers. Yet the results compare favorably with Britten's own.

Listening side by side, Schaeffer's tempi accord nearly perfectly with Britten's own. The Dies Irae is as hair-raising as the London recording. Christine Goerke has a much more pleasing voice than Vishnevskaya, with less wobble and without the "slavic hoot" present in the Russian singer. Clement nearly matches Pears. Richard Stillwell is no Fischer-Diskau but he sings the baritone role with conviction and is truly moving as the Strange Friend in the Libera Me. The chorus and orchestra are always perfectly well balanced. In fact, it's hard to realize that this is a live performance, so clean is the sound.

All in all, this is a worthy addition to the growing collection of War Requiems available. While not as high as the original London recording, I believe it is the best modern version available. If the growing talk of war and the swaggering jingoism of the current national climate disturbs you, this is a work that you need to hear, and this Cd will give it to you in all it's glory.

I am a member of the Washington Chorus since 1986. I am really proud of the achievement of everyone involved here. It's a great recording and if you are looking for one to compliment your collection, this is a perfect addition!

I am a student of Robert Shafer's at Shenandoah Conservatory and I'm proud of this phenominal achievement of my teacher and colleagues on the recording. If you're a fan of choral music, you'll definately want this one for your collection!

There are some 30 shooting wars going on in the world as I write this review. The vast majority of casualties in them, as has been the case for all wars during the last two centuries, are noncombatants. In an age of total warfare, no one is safe, especially those who are already most vulnerable. Wars in the twentieth century have devastated economies, destroyed nations, helped to ruin the environment.

Yet still we fight, still we continue to glorify war, still we continue to romanticize its brutalities as both noble and necessary. Benjamin Britten's wonderful "War Requiem," written some forty years ago, dares to offer a minority opinion. I think that his beautiful anti-war requiem is even more pertinent today than when it was first performed.

I'm not a music critic, and so won't presume to judge the piece aesthetically--although the fact that the recording won a grammy speaks for its quality. But I would say that anyone who wants to truly think about just how wretched and horrible war is ought to give it a listen. By skillfully weaving the traditional structure of a requiem mass with the heart-breaking poetry of Wilfred Owen and the uncanny, eerie-in-this-context echoes of martial music that can be heard throughout, Britten creates an emotional mood and evokes images and ideas that radically subvert our culture's general embrace of war.

It's curious that the CD was sponsored by the US Department of Defense as part of its 50th anniversary commemoration of WWII. Then Secretary of Defense William J. Perry even contributes a rather mindlessly rhetorical introduction to the accompanying notes that says all the usual things about making the ultimate sacrifice for one's country. The irony is that Britten most emphatically did NOT intend the "Requiem" as a hymn to martial heroism. It is anti-war from first to last. As Wilfred Owen eventually realized, there's absolutely nothing glorious about battle. It's messy and barbaric and stupid, from beginning to end. What deserves to be remembered, as both Owen and Britten do remember, is the innocent lives wasted in it.

I'll agree with Parsons here but assert that he doesn't go far enough in making the point: This is indeed a wonderful recording, but it does not hold a candle to the composer's 1962 reading. To anyone desiring to get to know this seminal work, I say - don't pass Go, collect no $200, report directly to Benjamin Britten himself!

The Washington perf. is exciting and aptly prepared, not to mention a well recorded document of what must've been an incredibly moving live event - in Kennedy Center at the 50th anniversary of the end of WWII with high ranking members of the Clinton admin. present. (George W. Bush should be strapped to a gurney and forced to hear this work!!) And the result is quite good.

It's just that Britten's result is CONSUMMATE. Besides being a first-rate conductor, he knew precisely how his own phrasing should work and how to extract that from the musicians to make every moment nothing less than inevitable. Yes, Fischer-Dieskau has the occasional annoying moment of creative English pronunciation ("tears" becomes "teeyuhs" etc.), but this is a tiny price to pay for the unfettered clarity of Britten's vision. Here is one case where, after 40 years, none of the subsequent recordings has surpassed the original. And indeed, "here is no cause to mourn"! (Owen)

Do yourself a favor. Go back a screen and click on the one with the stark black cover.