Benjamin Zander’s Verdi Requiem with the Boston Philharmonic

The Boston Philharmonic perform Verdi’s Messa da Requiem

By Kevin Wells, 25 November 2025

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“Zander was faithful to Verdi’s premise that his singers should avoid the operatic”

Reviewed at Symphony Hall, Boston on 23 November 2025

Verdi, Messa da Requiem

Ailyn Pérez, Soprano

Daniela Mack, Mezzo-soprano

John Osborn, Tenor

Maharram Huseynov, Bass

Benjamin Zander, Conductor

Boston Philharmonic Orchestra

Chorus Pro Musica

Generationenkonflikt?

Rolf Kyburz, 29th June

Das junge Orchester konnte zwar nicht immer mit seiner Solistin mithalten, erntete aber viel Respekt vor so viel Talent und Können.

***11

Requiem for a heavyweight: Riccardo Muti in Philadelphia

Cameron Kelsall, 25th October

After a 19-year absence, the legendary conductor returned to the podium of the Philadelphia Orchestra, leading an inconsistent performance of a signature work.

**111

Le Requiem de Verdi dépassionné de Riccardo Muti avec le National

Erwan Gentric, 4th October

À la Philharmonie de Paris, le maestro italien a montré sa maîtrise de l'œuvre de Verdi et fait briller les musiciens du National, dans une lecture splendide bien qu'un peu froide.

****1

Benvenuto Cellini: Strassberger loses the plot at La Monnaie

No’a L. bat Miri, 28th January

Thaddeus Strassberger’s Brussels debut presents Berlioz's opera semiseria with plenty of good music but far more visual noise.

***11

A Whitsun Festival crowned by Rossini’s magic in Salzburg

Laura Servidei, 9th June

An exciting gala concert led by Cecilia Bartoli closed the Whitsun Festival in Salzburg, under the expert baton of Gianluca Capuano.

****1

Tudor history, gothic thrills: Roberto Devereux in Bergamo

Mark Pullinger, 15th November

Is Roberto Devereux the finest of Donizetti's four Tudor operas? Stephen Langridge's stylish, stylised production and a wonderful cast under Riccardo Frizza make a great case for it.

****1

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Kevin Wells

Kevin Wells was bitten by the opera bug at 10, having heard a 1936 recording of Jussi Björling singing “Che gelida manina”. He has never been the same since. A student of voice, performance practice, the history of singing and opera, he holds advanced degrees in Italian and has lived and worked in Italy off and on since the 70s. La Scala became a second home as the Met had been during college daze. Now in his native Boston, he works as translator, tutor, and language coach, haunts Symphony Hall, and would haunt the Opera House had it not been demolished in 1958!

The ambiguity of salvation Benjamin Zander’s Verdi Requiem