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Surrey Advertiser: Verdi Requiem at the Cathedral [2008-11-07]

Subject:
Surrey Advertiser: Verdi Requiem at the Cathedral
Classification:
Sub-classification:
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Year:
2008
Date:
November 7th, 2008
Text content:

12 Sumey Advertiser 7th November 2008

GC

final “Libera me”, we had forces
capable of providing all that
Verdi could have required.
Jeremy Backhouse melded
these forces together into a
seamless whole. Every musical
nuance was at his fingertips
and the way he held Verdi’s
pauses to allow the echo to die
and to hold the emotional
moment

was

beautifully

crafted.
Although a requiem mass,
this is not a work to be contained within church worship.
It is operatic in concept and
needs soloists who can live

their music in a way not usually found or needed in the performance of most ‘sacred
works. Soprano Claire Seaton,
‘mezzo-soprano
Susanna

Spicer,

tenor

Andrew

Mackenzie-Wicks

and bass
Michael Bundy were an excep-

.

Verdi Requiem at
Guildford Cathedral

tionally well balanced quartet,
~with well blended ensemble
singing.

The Brandenburg Sinfonia,
_except for two momentary
THE Verdi Requiem can well be : lapses in violin intonation,
played with verve and with
considered his supreme masterpiece. It draws together his
deepest emotions and all the
musical knowledge attained
through composing 26 operas.
It was first performed in St
Marks Basilica, Venice and the

performance
Cathedral

in

was

Guildford

a

worthy

SucCCessor.

sympathy.

The three choirs sounded as
if they always sang together.
Their choral discipline was
excellent and they rose to every
challenge of dynamic, range
and emotion.
This

was

a

performance

which transported the listener

Vivace Chorus, the Freiburg

and as the soprano soloist
soared up to her final double

Bachchor, and Romsey Choral
Society, four excellent soloists
and the Brandenburg Sinfonia
under the baton of Jeremy
- Backhouse ensured that, from
the breathtaking pianissimo of

forte top C then almost imperceptibly joined the orchestra
four bars later to gently
crescendo into C major, we
were left,
performers and
audience alike, after all the sor-

the opening, through the vast
ranges of dynamic and emotional intensity which culminate in the utter stillness of the

row and the yearning and the

The

combined

choirs

of

switchback of emotions with
the breath of hope.
»

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