Music by Giuseppe Verdi (1813-1901)
Composed for the anniversary of the death of Alessandro Manzoni
Creation : San Marco church, Milan, 22 may 1874
In 1868 Verdi agreed to collaborate on a requiem in honour of Gioachino Rossini and composed the concluding movement, the Libera me. Although this mass was never performed, it inspired him to write an entire requiem of his own. The death of the highly admired poet Alessandro Manzoni, a fervent advocate, like Verdi, of the unification of Italy, provided the opportunity for Verdi to attempt this plan. To celebrate the death of such a great man demanded an exceptional piece. Verdi set to work and just one year after Manzoni’s death he conducted his Requiem in the church of San Marco in Milan. It was hugely successful. However, when the German conductor von Bülow heard it, he compared this magnificent work to “an opera in ecclesiastic robes”. This strong visual image reflects the rejection by some believers with a certain view of Christianism, which was prevalent at the time.. Their opinion was not shared by others, however, who saw in this requiem the passionate homage of a genius to the Creator.
Like Don Carlo or Aida, Verdi's Requiem, a colossal, powerful work, demands exceptional performers. The Opéra de Monte-Carlo and the Orchestre Philharmonique de Monte-Carlo join forces to take up this challenge for a memorable performance.
MONTE CARLO PHILHARMONIC ORCHESTRA
Didier de Cottignies
Could you tell us about the Orchestre Philharmonique de Monte-Carlo and its collaboration with the Opera?
The OPMC was created in 1856 under the reign of Charles III. Over the years, it became the cen-trepiece of the Principality’s musical life, performing not only in symphony concerts but also in opera and ballet productions. The orchestra very quickly attained a leading position in the European musical scene because its regular engagements in all repertoires equipped it with an undeniably superior faculty to listen to one another carefully, and a great capacity to play flexibly. The collaboration between the Orchestra and the Opera is an essential component of the Principality’s artistic activities. Personally, I think that harmony between our two entities is indispensable and that any differences in opinion must remain purely practical, because what counts most is always the artistic result.
Verdi’s Requiem is not universally regarded as a sacred work, but rather as a concert piece. Does this make it a regular part of the repertoire of a symphony orchestra?
We are particularly pleased to be involved in a new production by the Opera of Verdi’s Requiem, conducted by Daniel Barenboim. Verdi’s Requiem, like those of Mozart, Berlioz, Brahms, Fauré and many others, is a work of sacred music that is part of the usual repertoire of symphony orchestras, which can be performed in a sacred place, but more often in concert halls, and sometimes in certain opera theatres that offer symphony concerts as part of their seasons, like La Scala. Thus, it is quite legitimate that for such an event in Monaco, we should unite all our orchestral, choral and solo forces to present this piece to the Monegasque public.
In your opinion, what are the qualities of this work?
For me, this Requiem is one of the most spectacular pieces in the history of music. It is also a work with many facets. Some conductors have approached it in an extremely theatrical way, seeing it as directly connected with the principal œuvre of one of the greatest opera composers of all times. Others have interpreted it in a deeply mystical and religious way. Each of these visions is entirely consistent.