Review: Nezet-Seguin and Met Forces Return to the Stage with Verdi REQUIEM as Tribute to 9/11

Though the Met's season doesn't technically start till the end of the month, the company started off with a pair of what French chefs might call "amuses bouches"--sort of tastebud teasers. The first was Mahler's Second, which was done in the open air; the second, however, took place indoors on the Met's stage--the company's first performance in the hall since Covid 19 knocked the performing world (and everyone else) on its ear: The Verdi REQUIEM, which was broadcast live last Saturday on PBS (where this was reviewed).

The REQUIEM concert had a two-pronged responsibility--the kind of thing that's hard to pull off, and they did it with aplomb. The first was as the premier performance on stage since way-back-when, in 2020; the second, and I dare say more importantly, as a tribute to those who lost their lives in the World Trade Center attacks on 9/11.

Everyone seemed happy to be there, for what was, in theory at least, a return to normalcy. The audience seemed thrilled to see the orchestra, soloists and chorus on stage and the performers seemed delighted to be back at work in the house (at least partially since many had been on pay-free furlough).

Conductor and Music Director Yannick Nezet-Seguin seemed deliriously exuberant to be back where he belonged, in front of the magnificent musicians. So, too, were the soloists--soprano Ailyn Perez, mezzo Michelle de Young, tenor Matthew Polenzani and bass-baritone Eric Owens--who put their best feet (or vocal production) forward for this very special performance. And the Met chorus was in fine form, under Donald Palumbo.

Sure, it must seem quibbling to have complaints about such a transcendent realization of the piece, but the higher voices seemed to come across best, though when the four sang in unison, it was heavenly. If some of the soloists, to these ears at least, outshone others, well, who cared? It was an event that was memorable in many ways--not only for the first-rate music (perhaps at its most exciting in the Dies Irae segments) and exciting performers--but also for the video segments of the 9/11 memorial that made eyes well up with tears.

The libretto, for once, may have had greater impact (considering the occasion) than the wonderful Verdi score, as it talked about "eternal death" and "day of calamity and misery" and, alas, "Eternal rest grant to them, o Lord, and let perpetual light shine on them." It was hard not to well up with tears.

While I was disappointed not to have seen it in the house, if I had, I would have missed the big PBS blooper: cutting away for a commercial before the last notes of the finale, "Libera me," from soprano Perez.

The Met's regular season begins on September 27, with the New York premiere of Terence Blanchard's FIRE SHUT UP IN MY BONES, followed the next night by the season premiere of Mussorgsky's BORIS GODUNOV. For more information, see the Met's website.

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