Rare, Massive Performance of Berlioz’ ‘Requiem’ at Seattle Symphony
Cover image: Seattle Symphony led by Ludovic Morlot, Seattle Symphony Chorale, and the choruses of Seattle Pro Musica and Vocalpoint! Seattle performing Berlioz’ Requiem at Benaroya Hall (Photo: Brandon Patoc)
It’s rare to see used the wide apron extension of the stage at Benaroya Hall, but it was there and fully populated by Seattle Symphony orchestra members Thursday, all to accommodate the combined 200-plus singers of the Seattle Symphony Chorale, Seattle Pro Musica and the men of Vocalpoint! Seattle on risers at the back. Add to this four groups of brass players at either side of the top balcony and either side of the front boxes, and no fewer than seven percussion and timpani players, all wielding drum mallets, spread in front of the singers and behind the wind sections. Plus, briefly, a tenor soloist in the organ loft.
This large group of performers had gathered to perform Berlioz’ Requiem (“Grande messe des morts”) under the baton of the orchestra’s music director Ludovic Morlot (repeated Saturday night). The size seems grandiose but the work was commissioned from Berlioz for a major civic ceremony in Paris in 1837, to be performed in the huge space of the Church of the Invalides, and Berlioz was sensible of the need not just to fill the space with sound but to give a sense of the dignity of the occasion.
He succeeded admirably, though given his always highly individual approach, he changed some of the order of the mass, for instance the “Kyrie,” which usually begins, came after the opening “Requiem aeternam.” There is a great deal of variety in the work, with arresting contrasts between different groups of instrumental colors and voices, and suddenly changing dynamics, all of which consistently engaged the interest, plus the thrilling barrages of deep sound from the brass high overhead or to the side.
The stars of Thursday’s performance were the combined choirs and Morlot himself. Throughout the work, performed without intermission, Morlot controlled these large and scattered forces so that they stayed together though the grand sweep of the work, beautifully paced, creating thrilling clashes of sound and contrasting soft moments, never an overload of either, so that while the louds were very loud, ears never felt painfully assaulted and all the words were audible even in the softest moments.
The choirs, trained by Vocalpoint’s and the Symphony’s Joseph Crnko and Seattle Pro Musica’s Karen P. Thomas, sang all ten sections of the mass, with tenor soloist Kenneth Tarver joining them only in the “Sanctus.” All the emotions of the work came through their voices: excited, peaceful, heraldic, serene, triumphant, contemplative, dramatic, yearning. With his high, graceful and clear voice (a type known as tenore di grazia) Tarver gave an extra sense of focus to the “Sanctus,” where he was joined by sopranos, altos and soft, high strings. The chorus never felt pushed or screechy, even in its loudest moments.
Despite its many passionate outbursts, the overall feel of the Requiem is one of dignity and thoughtfulness and this performance brought that out. It received a heartfelt reception from the audience.
