The women were be allowed to sing, but only if placed behind a screen, while wearing full black mourning garb, complete with heavy veil over head and face. There would also be no applause for this premiere. Even with these restrictions, the first performance was a rousing success, and subsequent performances followed rapidly. And why not? The work encompasses a complete range of human emotions or conditions, from fear and love to consolation and desolation to peace and joy.
The Cleveland Orchestra and Music Director Franz Welser-Möst employed the traditional stage setting for this week’s performances of the Verdi Requiem, the first here since 1982. With the conductor center stage on his podium, the four soloists were seated (or stood) in front of him, facing the audience. Around and behind them were the 100+ members of the orchestra (double basses at far stage left) and across the rear of the stage on risers were the 160+ members of the Cleveland Orchestra Chorus. This setting allows for the optimum sound projection, and when all these forces are at full strength, the roof nearly rattles in accompaniment. Thanks to the wonderful acoustics in Severance Hall, even near-whispers are readily transmitted to the audience.
The quartet of vocal soloists were well matched—to each other and to the demands of their vocal parts. Three of them were engaged only recently after the originally-announced singers canceled for various reasons. The replacements—Twyla Robinson, soprano, Nancy Maultsby, mezzo-soprano and bass Raymond Aceto—joined by tenor Piotr Beczala made a handsome, young quartet.
It seemed from the applause at the end of the evening that Ms. Maultsby was, perhaps, the audience favorite, and deservedly so. Her voice is not only large and rich, but there are no noticeable differences in quality between her chest and head notes, just a lush voice easily capable of being heard over the full orchestra. On the other hand, in one section of the Lux aeterna, she was accompanied only by three flutes and violins in a hushed, very soft, rendition that was heart-rending. One would almost think Severance Hall was designed with this work in the mind of the architect. The false boxes on either side were eerily responsible for the ghostly trumpet fanfares of the awe-inspiring Dies irae. From house left to stage to house right, the sound went back and forth, echoing throughout before settling once again on the stage. Ms. Maultsby was joined by Ms. Robinson in the lovely Agnus Dei—their voices in unison, one octave apart, while the orchestra remained silent. When the chorus joined in, very softly, it was only wordless humming as a background, and it was gorgeous. In the Offertory Ms.Robinson’s clear soprano soared effortlessly in the highest notes, pure and clear. Especially beautiful obbligato solos were performed by principal bassoonist John Clouser and principal oboe Laura Griffiths. Except for one unaccompanied portion by the chorus when he conducted sans baton, Mr. Welser-Möst conducted throughout with broad expansive gestures, entirely appropriate for this majestic work. Even the silences were awesome.
These were the last performances at Severance Hall for the 2003-04 seaon. The 2004-05 season will begin with an Opening Night Gala on September 18, 2004. Information is available at the orchestra’s web-site: http://www.clevelandorchestra.com from Cool Cleveland contributor Kelly Ferjutz kellytwo@core.com (:divend:)