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Muti: Verdi – Messa Da Requiem (24/48 FLAC)

Muti: Verdi - Messa Da Requiem (24/48 FLAC)

Muti: Verdi – Messa Da Requiem (24/48 FLAC)

Composer: Giuseppe Verdi
Performer: Jessye Norman, Agnes Baltsa, José Carreras, Yevgeny Nesterenko, Chor des Bayerischen Rundfunks
Orchestra: Symphonie-Orchester des Bayerischen Rundfunks
Conductor: Riccardo Muti
Number of Discs: 2
Format: FLAC (tracks)
Label: BR Klassik
Catalogue: 900199
Release: 2021
Size: 828 MB
Recovery: +3%
Scan: yes

CD 01
Verdi: Requiem (Live)
01. I. Introit – Kyrie
02. IIa. Sequence. Dies irae
03. IIb. Sequence. Tuba mirum – IIc. Sequence. Mors stupebit
04. IId. Sequence. Liber scriptus
05. IIe. Sequence. Quid sum miser
06. IIf. Sequence. Rex tremendae
07. IIg. Sequence. Recordare
08. IIh. Sequence. Ingemisco
09. IIi. Sequence. Confutatis
10. IIj. Sequence. Lacrimosa

CD 02
Verdi: Requiem (Live)
01. IIIa. Offertory. Domine Jesu Christe
02. IIIb. Offertory. Hostias
03. IV. Sanctus
04. V. Agnus Dei
05. VI. Communion. Lux aeterna
06. VII. Libera me

The Munich performances of Verdi’s Messa da Requiem in October 1981 with Jessye Norman, Agnes Baltsa, José Carreras and Yevgeny Nesterenko, the Bavarian Radio Chorus, and the Symphonieorchester des Bayerischen Rundfunks conducted by Riccardo Muti were concert events that have hardly been equaled since, let alone surpassed – so powerful were the chorus and orchestra, so strictly did the maestro keep his eye on the interpretation, and so superb were the renowned soloists – singers of international renown who gave their all to achieve the best possible result. And they all succeeded brilliantly.


Finally – four decades later – BR-Klassik can now release this absolute pinnacle in the performance history of Verdi’s Messa da Requiem. The audience was spellbound and totally captivated, and there was glowing praise from the critics: the powerful work, they said, had hardly ever been heard like this on this side of the Alps; Riccardo Muti had demonstrated how Verdi’s Requiem should sound; this performance of Verdi’s requiem mass was authentic, frightening, tender and terrifying, providing a timid yet hopeful glimpse of transcendence. Wolf-Dieter Peter, a reviewer for the “Mittelbayrische Zeitung” in Regensburg, was there at the time and reported how the extra trumpets positioned in the gallery of the Herkulessaal “blasted a glistening jet of metallic sound across the stalls, almost as if from the afterlife”. It was something, he said, that had “never been seen, heard or experienced like this before… simply unforgettable”.

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