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Mozart: Requiem in D Minor

4.0 out of 5 stars 1 customer review

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(Sep 11, 2012)
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Editorial Reviews

The first DVD released by the Fryderyk Chopin Institute documents a performance held during Sunday s holy mass on October 17, 2010, celebrated by father Kazimierz Szymonik at Holy Cross Church in Warsaw to honor the 161st anniversary of the composer s death. The mass is performed by the legendary Orchestre des Champs-Élysées, Collegium Vocale Gent, and Accademia Chigiana Siena conducted by Philippe Herreweghe.

Special Features


Product Details

  • Actors: na
  • Directors: Philippe Herreweghe
  • Format: Classical, Color, NTSC
  • Language: English
  • Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  • Number of discs: 1
  • Rated:
    Not Rated
  • Studio: 1-2-3-4 GO
  • DVD Release Date: September 11, 2012
  • Run Time: 1 minutes
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • ASIN: B008CWQX7W
  • Amazon Best Sellers Rank: #659,254 in Movies & TV (See Top 100 in Movies & TV)

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Top Customer Reviews

By Gerhard P. Knapp on August 21, 2012
Chopin is said to have asked that Mozart's Requiem Mass be performed at his funeral. He died on 17 October 1849. The DVD under review documents a mass celebrated on 17 October 2010 at the Holy Cross Church in Warsaw in commemoration of the anniversary of Chopin's death. Embedded in the liturgy of the mass (read in Latin and in Polish) is the performance of Mozart's Requiem by Philippe Herreweghe, a quartet of outstanding soloists, the Orchestre des Champs-Elysées and two excellent choirs. If you are primarily interested in Mozart and want to hear the requiem without liturgical interpolations, you will have to make your way to the respective submenu and then choose "play all" at its bottom. This took me a while to figure out, so be forewarned. You may conclude from the above that this performance of the Requiem (like Solti's musically flawed 1991 Vienna production) is a stop-and-go enterprise and thus does not have the natural continuity the music requires. This is obvious even in the pasted-together track where there are some awkward moments at the beginning of movements. Herreweghe was apparently not altogether privy to the order of proceedings: he at times looks for guidance to the person standing behind him who would indicate whether the music was to continue or was to be interrupted by parts of the liturgy. I assume a more proficient recording/cutting team could have made the performance appear more seamless.

As a performance - and given the fact that it could not flow in its natural momentum - it is still very good. Herreweghe uses the Beyer edition and he has his period instrument musicians, choristers and soloists on their collective toes throughout the score.
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