BWW Reviews: NY Philharmonic Flexes Its Operatic Muscles with Verdi REQUIEM

With all its money problems, why hasn't the Met thought about doing some lesser known works in concert? Or, for that matter, marshalled some of its glamorous resources to put on the Verdi REQUIEM? For the time being, we have to be grateful for the New York Philharmonic and its Music Director Alan Gilbert for reminding us how powerful this music can be.

As usual for this time of year, there were some last-minute replacements among the soloists. First tenor Brandon Jovanovich--so good in the Met's LADY MACBETH OF MTSENSK earlier this season--bowed out, to be replaced by Russell Thomas, whom the Met showcased in Central Park last summer. Then Finnish mezzo Lilli Paasikivi was replaced by Daniela Barcellona, who is currently in rehearsal for the Met's LA DONNA DEL LAGO. They joined soprano Angela Meade, who has become increasingly indispensable on the New York scene, and bass-baritone Eric Owens, who triumphed as Alberich in the Met's recent Ring Cycle.

With all due respect to the other singers, the star soloist in the piece is the soprano and Meade was wonderful. She soared over the orchestra and chorus in the concluding "Libera me" showing off how enormous her vocal resources really are, while earlier in the evening, in the "Recordare," she modulated her voice so that it blossomed and was totally alluring.

Mezzo Barcellona sounded gorgeous in her solos but clearly suffered from a lack of rehearsal time with Meade in their duets, so that they didn't quite meld together as they should have. The results from the male soloists were mixed. I found Owens thoughtful and clear-toned, if a bit subdued, while the tenor did quite a bit of off-key singing and was generally disappointing, though at his best in the "Ingemisco."

No matter. The New York Choral Artists under Joseph Flummerfelt and the Philharmonic more than carried their weight in this powerful performance that depends so much on their virtuosity. The choral writing is brilliant at every turn and the orchestral work no less so. Together, they thrilled with the "Dies irae," raising the roof off Avery Fisher Hall, and their "Sanctus" beautifully showed off Verdi at his most operatic. The orchestra itself never sounded better, with inspired playing and resources to spare in this often turbulent work and Gilbert's conducting was concise and compelling throughout. A particular shout-out is due to the trumpet soloists perched on the two sides of the hall's Second Tier during the "Tuba mirum" with the chorus.

Once again, Gilbert showed how invaluable his vision is for the Philharmonic--and for the New York music scene as a whole.

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Photo: New York Philharmonic, New York Choral Artists and soloists in Verdi's REQUIEM.

Photo by Chris Lee

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