Review: Verdi’s ‘Requiem’ at Durham Cathedral (DUCS & DUOS concert)
By Christian O’Brien
There is some irony to performing Giuseppe Verdi’s Requiem in Durham Cathedral, given that critics at the time lambasted the work as “an opera in ecclesiastical robes” along the lines of his more conventional operatic works, such as La Traviata and Aida. However, the combined forces of the Durham University Orchestral Society and Durham University Choral Society, performed on the evening of the 30th of January, highlighted all too clearly that such dramatic orchestral works must always have a place in equally dramatic settings.
Highlighted all too clearly that such dramatic orchestral works must always have a place in equally dramatic settings
Opening with the overture to Rossini’s The Thieving Magpie, DUOS (under the conductorship of Michael Kohn) introduced the evening with dulcet strings and a fantastically lush tone, capturing the hallmarks of the Romantic-era composition greatly. The ensemble as a whole also tackled the overture with a pleasing intimacy and harmony, all sections conversing with one another quite fluently. Overall the overture proved a welcome respite prior to the emotive grandeur of the Requiem, a great amuse-bouche for what was to come.
Muted cellos signalled the haunting beginning of Verdi’s Requiem in a stark change of mood — with professional Tim Burke at the helm of the 250-strong orchestra and choir, the musicians rendered an incredibly powerful rendition of the piece. Indeed, Durham Cathedral often proves a challenge to many — if not all — musical performances, with the huge interior both allowing for a soloist to lament throughout the space, as well as running the danger of an unintelligible cacophony in the worst of cases. Thankfully, the latter was not so; the combined orchestra and choir greatly complimented one another, with only scant moments in which balance seemed to falter. The infamous ‘Dies Irae’ was, naturally, a breathtaking display of orchestral gravitas, the offstage brass helping to add an awe-inspiringly ethereal edge. Yet, such a tour-de-force of orchestral might was not the only impression left, as the quieter moments were handled with an equally masterful passion.
Has proven to be one of the best concerts of the academic year so far in its excitement and passion
Of particular note was the quartet of vocal soloists, composed of highly successful alumni. The voice of the soprano, Hannah McKay, soared within the lofty stone-ribbed vaults, giving a hair-raising performance even with the hundreds of musicians behind. The other soloists provided very effective and dramatic performances, from the deeply powerful bass to the silky tones of the mezzo-soprano. The professionality on display as a result allowed for DUOS and DUCS to shine throughout the entirety of the Requiem, impressive when considering the difficulty and technical ability needed from musicians and chorists alike.
As a whole, the DUOS and DUCS collaboration on Verdi’s Requiem has proven to be one of the best concerts of the academic year so far in its excitement and passion. It is clear that the Durham classical music scene has much to anticipate following on from this, with a plethora of future concerts ranging from Beethoven’s Fourth Symphony to Tchaikovsky’s fiery Pathetique Symphony to be performed in this term alone.
Images: Nicholas Chan
