Never mind Beethoven’s Ninth. For many years it was the customary closer for Prague Spring, shining a beacon of hope and brotherhood so brightly that eventually the European Union adopted it. But the tenor of the times has changed, and what could be more appropriate for this fraught moment than a concluding requiem? Especially a high-powered treatment of Verdi’s, with Daniele Gatti leading a brilliant performance by the Staatskapelle Dresden, Wiener Singverein and four star soloists.
From the barely audible opening murmurs in the low strings to the thrilling surges of the chorus in the Sanctus, Gatti showed an absolute command of the material. Powerful dynamics, pinpoint control of the sound and a measured tempo gave the piece clarity and depth, with the natural elegance and refinement in the conductor’s style lending the music a sophisticated burnish. Most impressive was the tone Gatti struck – somber but never funereal, emotive sans sentimentality, a balance of dark and light forces that offered equal parts loss and joy. His skill in taking the music from a whisper to a roar added considerable impact.
The orchestra played at a virtuoso level throughout, with percussion driving the Dies irae intro, standout work by the brass in the Tuba mirum and Sanctus opening and engaging woodwinds softening the Quid sum miser and Agnus Dei. The full orchestra provided exquisitely sensitive accompaniment for the singers, bringing a graceful touch to weighty material. And under Gatti’s baton there was drama in almost every bar, occasionally erupting with explosive force. Devotees who consider the piece more operatic than religious would have been pleased.
Especially after the singers came to the fore. There was no more than a hint of solemnity in their performances, which gave free rein to expression. Mezzo Elīna Garanča managed to be both dramatic and lustrous, her golden tones suffused with yearning and passion. Garanča had star billing, but soprano Eleonora Buratto was the dominant singer in ensembles, with a clear voice that cut through everyone else’s. Tenor Benjamin Bernheim did not have an opportunity to show much until his Ingemisco solo, which he delivered with ringing authority. Bass Riccardo Zanellato never seemed to find full voice, often overwhelmed by the orchestra. But he fit neatly into the trios and quartets, which blossomed beautifully into rich, full set pieces. Garanča and Buratto’s duos were captivating.
The Singverein was like a force of nature, performing with electric intensity. The crashing chords of the Dies irae came off the stage in an avalanche of sound, repeated with even more fervor in the closing Libera me. In between there was striking versatility, with slicing vocals in one section, soothing whispers in another and a hushed quality in the accompaniment with the soloists. Steady doses of vibrato gave the sound an edge, and when the chorus turned up the volume along with the orchestra, it was like thunder, kept just shy of a fever pitch by Gatti’s expert control.
Smetana Hall in Prague’s Municipal House is a multipurpose facility and acoustic cavern for orchestras. Very few come in and dominate it the way that Gatti and his troupe did. In that sense, their performance echoed this year’s opening Prague Spring concert, which filled the hall with a proud, exuberant treatment of Má vlast. As powerful statements of national and spiritual renewal, the concerts made complementary and fulfilling bookends for a rewarding festival.
