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À sa création en 1874, la Messa da requiem de Verdi a été décrite par le chef d’orchestre Hans von Bülow comme « un opéra en habits ecclésiastiques ». Ce qui était censé être une critique décrit peut-être mieux la qualité la plus vénérée de l’œuvre : sa somptueuse théâtralité.
All the fire and fury of the Requiem, generally deemed too operatic to be performed in liturgical settings, will be on display April 27 at George Weston Recital Hall, and April 30 at Koerner Hall when the Toronto Mendelssohn Choir presents this masterpiece of the concert repertoire under the baton of Artistic Director Jean-Sébastien Vallée. Members of the Toronto Symphony Orchestra will join the 160-voice choir, and solos will be performed by soprano Teiya Kasahara 笠原 貞野, mezzo-soprano Rose Naggar-Tremblay, tenor Andrew Haji, and bass Geoffrey Sirett.
For all its “grandeur, operatic flair, and urgency,” Vallée believes the Requiem to also express a simple, human vulnerability. “Verdi’s Requiem stands out for its raw emotional power and gripping intensity,” he says. “It delves into themes of judgment and repentance, resonating with our innate fears and uncertainties about life and death. Despite moments of hope, it skilfully captures universal doubts and fears, making it timeless and deeply relatable.”
When soprano Teiya Kasahara performs this demanding role, they are seeking to balance emotional authenticity and the technical requirements of Verdi’s distinct style. The composer wrote the oratorio’s conclusion, an extended Libera Me, four years prior to the rest of the work, as a personal elegy for his operatic predecessor, Gioachino Rossini. The movement unfolds like a true operatic scena and requires heroic vocalism from the soprano who cries “Deliver me, O Lord, from eternal death on that awful day.”
“This is unlike any oratorio solo that I’ve sung (or heard),” says Kasahara. “It requires such stamina, pacing, discipline, beauty of tone, and drama, as well as the respect and sincerity of the expression of this liturgical text. It is operatic and not at the same time. I don’t feel as if I’m playing a character—I can bring much more of myself to this role, and be a vessel that reflects our society today when I am performing it.”
The Requiem presents unique challenges and possibilities for Vallée, as well. “As a conductor,” he says, “I’m captivated by the emotional depth of Verdi’s Requiem and the opportunities it offers for artistic expression. It challenges me to navigate intricate passages and draw out raw emotion from soloists, choir, and orchestra alike.” It is that visceral passion that sets Verdi’s Requiem apart from other liturgical works and makes these concerts a cathartic antidote to the troubles and uncertainties of today.
The Toronto Mendelssohn Choir, conducted by Jean-Sébastien Vallée, will perform Verdi’s Requiem in Toronto on April 27 and 30. www.tmchoir.org
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