A concert for the spirit, with star performers: Verdi’s Requiem at the Hollywood Bowl in 2013 with the Los Angeles Philharmonic Orchestra (LA Phil) conducted by Gustavo Dudamel. The soloists are Juliana Di Giacomo (soprano), Michelle DeYoung (mezzo-soprano), Vittorio Grigolo (tenor) and Ildebrando D’Arcangelo (bass), with singing by the Los Angeles Master Chorale.
Giuseppe Verdi’s (1813 - 1901) Messa da Requiem can be considered the most musically rich requiem mass that the classical-romantic era produced. With this requiem, Verdi pays tribute to two important Italian artists: He began composing the piece in 1868 after the death of composer Gioachino Rossini (1792 - 1868) and completed it in 1874 after the death of poet Alessandro Manzoni (1785 - 1873). Regardless, the Messa da Requiem is a church music piece that is generally significant in a spiritual sense. It still staggers audiences to this day – not least because of its interplay between magnificent sound and the strongly sensuous expressiveness of the text.
Experience a breathtaking concert from 2013 at the famous Hollywood Bowl!
Giuseppe Verdi (1813 - 1901) Messa di Requiem (1874)
Los Angeles Master Chorale Grant Gershon - Music Director Los Angeles Philharmonic Orchestra Gustavo Dudamel - conductor
(00:40) I. Requiem (10:15) II. Dies Irae (50:27) III. Offertorio (1:00:47) IV. Sanctus (1:03:35) V. Agnus Dei (1:09:11) VI. Lux Aeterna (1:16:32) VII. Libera Me
Sony Classical has launched “Fragments,” a series of iconic opera scenes, recorded in Saint Petersburg, under the direction of Teodor Currentzis. The first in this series features a segment from Verdi’s “La Traviata.”
Currentzis recorded the Prelude to Act three and Violetta’s famous Aria “Addio del Passato Bei Sogni Ridenti” alongside Russian soprano Nadezhda Pavlova.
The parts of Annina and Doctor Grenville are performed Yulia Sayfulmulyukova and Víktor Shapovalov, both soloists of the musicAeterna choir.
“This is a project that I’ve been dreaming about for a long time […] to make opera when there is plenty of time to make exactly the music I want to; to only care about the true essence of the piece and not about how to make it hectically in three days,” the conductor stated in an official press release. “So, we grabbed the opportunity and decided to creatively use this difficult period of time that we are all going through […] while opera houses are closed […] This seemed to be the right time to reconsider the approach of making music in a manner that would allow us to finally reach the inner layer of the musical text. This project will be a compilation of fragments, scenes from different operas. We aim to restore the wasted beauty, the abundance of flavors and colors that have been sacrificed on the altar of the mainstream, and the music industry.”
CHAARTS Chamber Artists: Felix Froschhammer - violin Markus Fleck - violin Tomoko Akasaka - viola Andreas Fleck - cello Lars Schaper - double bass Barbara Stegemann - oboe Rui Lopes - basson Moritz Roelcke - clarinet Maximilian Randlinger - flute Tomas Gallart - horn L. Lea Magdalena Knecht - harp
The Radio Philharmonic Orchestra led by Antony Hermus perform the ouverture from the opera 'La forza del destino' by Giuseppe Verdi during The Sunday Morning Concert of Sunday the 1st of September 2019.
2019/2020 is a very special year for The Sunday Morning Concert: the new season marks the 25th anniversary of the AVROTROS concert series! To celebrate, the orchestra played a throwback programme during the first concert of the season on the 1st of September: the music played (Copland, Verdi, Prokofiev and Tchaikovsky) was the same music that got played during the first edition in 1994.
Anna Netrebko as Leonora sings 'Pace, pace mio Dio' aria in Christof Loy's production of Verdi's sweepingly ambitious opera on war, religion, love and fate.
La forza del destino is one of Verdi's most ambitious scores. Its overture - which introduces us to the sinister motif signifying Fate - is one of his most memorable. The opera also contains some of Verdi’s most brilliant choral writing, including Act III’s stirring ‘Rataplan’ chorus, and several beautiful and intimate arias such as Leonora's ardent Act IV 'Pace, pace mio Dio!'. There's comedy too with the scenes for the greedy monk Fra Melitone. Christof Loy's colourful and spectacular production reflects the kaleidoscopic nature of Verdi's opera, where intense personal dramas play out against a background of war, and in which religion plays an ambiguous role.
Verdi and his librettist and friend Francesco Maria Piave based La forza del destino on Ángel de Saavedra's highly dramatic play Don Alvaro, o la fuerzo del sino, and also incorporated material from Schiller's Wallenstein's Camp for Act III's military scenes. Following Forza's 1862 St Petersburg premiere, Verdi made extensive revisions to the score. The most substantial of these were a new overture, and a less melodramatic ending, in which Don Alvaro remained alive rather than committing suicide. The revised Forza, the version best known today, had its premiere on 27 February 1869 at La Scala, Milan.
Baritone Dmitiri Hvorostovsky, who has been battling a brain tumor that forced a hiatus, surprised the 2017 Metropolitan Opera Gala audience with a performance of “Cortigiani, vil razza dannata" from Verdi's "Rigoletto."
Plácido Domingo (Happy birthday!) and Anna Netrebko sing "Gia Nella Note Densa" from Verdi's Otello live from the Waldbuhne (2006). Orchester der Deutschen Oper Berlin / Conductor: Marco Armiliato.
The Opera recording event of the year. This magnificent recording of Aida, made in Rome, rises to all the musical and dramatic challenges presented by Verdi’s richly-coloured Egyptian epic. Antonio Pappano, once again proving his mastery of Italian opera, moves between sumptuous grandeur and touching intimacy. The responses of the Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia are both immediate and vibrant, while the singers – Anja Harteros, Jonas Kaufmann, Ekaterina Semenchuk, Ludovic Tézier and Erwin Schrott – do justice to every facet of their roles.