Requiem : grande messe des morts

"The orchestral playing is superb throughout ... Sir Colin Davis, too, is in a class apart as a Berlioz interpreter and this performance simply confirms that. This is, from start to finish, magnificent. It's astonishing to think that when this recording was made he was a few weeks shy of his eighty-fifth birthday for there is no want of energy here ... Berlioz found in Sir Colin Davis a champion beyond compare".

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"Recommended: Antonio Pappano's recording of the Grande messe des morts is a magnificent achievement. Interpretatively, it rivals the Colin Davis recording - the differences in approach are fascinating; neither is "better" than the other. No less than Davis, Pappano brings out the many nuances of Berlioz's masterpiece and he is just as successful in conveying its scale and grandeur. He's aided by superb playing and singing and by a magnificent recording. This is as fine a traversal of the score as I've heard in years and on every front it's deeply impressive".

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"Recording of the month: The Dutch orchestra and Italian choir are superb in the 'Requiem - Kyrie'. Pappano shapes the music most beautifully, those rocking string figures especially well done ... As for Pappano, he makes it all sound so effortless, 'floating' those heavenly phrases in much the same way Davis did all those years ago ... It's clear Pappano has the measure of Berlioz's ambitious score ... As for the 'Sanctus', it's the soloist who takes centre stage. This is a small but crucial role, and, joy of joys, the Mexican tenor Javier Camarena sings with an ardour and purity of tone that's most appealing ... But, it's the choir who have the last word, their long-breathed 'Amens' a fitting coda to this distinguished - and most desirable - release. A musical and sonic milestone; in short, a Requiem to die for".

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"Most importantly, the recording captures an exceptionally moving interpretation, masterfully conducted by Berlioz specialist John Nelson. In his brief introductory note, Nelson writes that Berlioz, despite being agnostic, attended mass every day because "he was overwhelmed by the beauty and solemnity of the Roman Catholic service." Indeed, it is these two qualities that stand out in the performance ... this new version rewards repeated listening and will move anyone who hears it, both as a performance and a recording".

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"Cambreling is an experienced Berlioz conductor with a strong feeling for the music's atmosphere, for its bold textures, for the uneven and often unexpected phrasing, for the sometimes quirky and thrust of the rhythms. He has an excellent choir in the EuropaChorAkademie".

"Vurdering: Gramophone choice" - "The St Paul's acoustic is something to be reckoned with ... and it is striking to observe how careful Davis is to allow for the famous echo ... There's some lovely orchestral detail ... The chorus is excellent ... Barry Banks, sounding some way off, is effortlessly mellifluous. Whether in 2012 or 1969, Colin Davis is a must-have".

"Clean, fresh textures set in a warm acoustic, with incisive choral singing ... Colin Davis' version ... has greater bite and body of sound".

"Pappano ... is not exactly a Berlioz habitué. But his wide-ranging Covent Garden repertoire has bred in him an often compelling interpreter of large-scale vocal works with orchestra. Here he is especially attentive to the score's many pauses, playing them like cat and mouse - as I think Berlioz attended ... The Concertgebouw go with him alle the way and there is some beautiful and virtuoso playing, and an involved (and decidedly Latin) contribution from the tenor in the Sanctus".

"The concept of Berlioz's requiem Mass may embrace a certain element of grandiosity but, listening to this performance, it is impossible to forget that Berlioz was a supreme orchestrator and a composer with a broad dramatic talent".

"Vurdering: G (Gramophone recommends)" - "This is his only recording of the work since his classic 1969 version, and despite excellent performances by Norrington ... and Robert Spnao ... his grasp of the music remains supreme".

"This conductor has been outstandingly careful about the notorious acoustic. Any complaints registered about its effect in reviews of the concert are hardly apparently on these recordings of it ... The recording, in general, has lovely brass tone and is most sensitive to Nelsons's wide dynamic range ... If the text above all, and the atmosphere of an event contemplated, satisfies you, there are few better options around at the moment".