Verdi's 'Requiem' is brought to life
By Patricia Miller -
Arts & Entertainment Editor
November 9, 2004
Some spiritual adepts hold that building harmony is the reason for the evolution of the universe.
If they're right, the universe should be blooming after this weekend's harmony among more than 225 musicians. And that's only the performers. The crews, the administrators, the volunteers and the promoters had a hand as well. The composer helped too.
Arthur Post, center, conducts a rehearsal of Verdi's "Requiem" at Fort Lewis College's Community Concert Hall on Friday. The soloists are, from front left, soprano Gemma Kavanaugh, of Durango; mezzo-soprano Donna Pedrick, of Farmington; tenor Ravil Atlas, of New York; and baritone, Peter Van De Graaf, of Chicago, who is singing.
The San Juan Symphony, the Durango Chorale Society and the Farmington Masterworks Chorale presented Guiseppe Verdi's "Requiem" to a sold-out crowd at Fort Lewis College and a house two-thirds full at Farmington. Symphony President Polly Morgenstern told the Durango crowd that 95 percent of the players are from the Four Corners area.
The stage of the Community Concert Hall was scarcely able to hold them all Sunday afternoon. And their music was overwhelmingly beautiful, complex and somber.
The mighty ensemble of symphony, chorus and soloists was able to blast in, especially in the repeated "Dies Irae" theme, with a beautiful, controlled, near-cacophony - drums booming, trumpets blaring, violin bows vibrating, choristers giving their all, until the sound turned almost solid. Then they turned to the barest whisper.
For instance, the chorus had a joyous, powerful moment when, against triumphant trumpets, they concluded with "Hosanna in Excelsis!" Immediately the work moved to the pure voices of two soloists - soprano Gemma Kavanaugh and mezzo-soprano Donna Pedrick - singing alone, asking the Lamb of God to grant souls eternal rest.
Verdi (1813-1901) wrote in a time when hell and damnation were more spoken of, thought about and prayed over than they are today. The program offered a Latin/English translation and people in the audience followed along intently, line by line.
Verdi composed the Mass to mark the death in 1873 of Allessandro Manzoni, who was thought of as Italy's Victor Hugo. But Verdi had lost his wife and two children early in his life. The grief and pleading for mercy that inform this memorial may have drawn on his longstanding sorrow.
San Juan Symphony conductor Arthur Post made the beauty possible. During the final movement, he wrung his fist, pushed his hand out in a big slap and almost jumped off his feet in his intent to communicate with the musicians. The choirs had been prepared by their directors: Linda Mack in Durango and Linda Edwards in Farmington.
Although a sacred work, the "Requiem" is dramatic and operatic. Costumes and scenery would not have been hard to imagine.
Guest tenor Ravil Atlas comes from New York, but he sounds as if he's pure Italian, the epitome of the 19th century tenor that Verdi loved. He was commanding and dark as he sang of his guilt and shame as a sinner and begged for mercy. Bass baritone soloist Peter Van De Graaf also lent heft, drama and clarity to the lengthy "Dies Irae" section (day of wrath).
Surprisingly for a piece that is sung by so many - it was once performed in London with 1,200 singers - the ending is subdued. Kavanagh simply asks for rest for the dead and for herself - before that day when God comes to judge the world by fire.
The afternoon ended with a standing ovation.
Hosanna!
