Giuseppe Verdi – Requiem (Gardiner) [1995]

CD1
1. Verdi: Messa da Requiem - 1. Requiem	Luca Canonici	8:50
2. Verdi: Messa da Requiem - 2. Dies irae	The Monteverdi Choir	2:09	
3. Verdi: Messa da Requiem - 2. Tuba Mirum	The Monteverdi Choir	2:59
4. Verdi: Messa da Requiem - 2. Liber scriptus	Anne Sofie von Otter	4:41	
5. Verdi: Messa da Requiem - 2. Quid sum miser	Luca Canonici	3:42	
6. Verdi: Messa da Requiem - 2. Rex Tremendae	Luca Canonici	3:24	
7. Verdi: Messa da Requiem - 2. Recordare	Anne Sofie von Otter	4:02	
8. Verdi: Messa da Requiem - 2. Ingemisco	Luca Canonici	3:22	
9. Verdi: Messa da Requiem - 2. Confutatis	The Monteverdi Choir	4:49	
10. Verdi: Messa da Requiem - 2. Lacrymosa	Luca Canonici	5:45	
11. Verdi: Messa da Requiem - 3. Offertorium	Luca Canonici	10:06	
12. Verdi: Messa da Requiem - 4. Sanctus	The Monteverdi Choir	2:41

CD2
1. Verdi: Messa da Requiem - 5. Agnus Dei	Anne Sofie von Otter	5:01	
2. Verdi: Messa da Requiem - 6. Lux aeterna	Luca Canonici	6:18	
3. Verdi: Messa da Requiem - 7. Libera me	The Monteverdi Choir	13:29
4. Verdi: 4 Sacred Pieces (Quattro pezzi sacri) - Ave Maria	The Monteverdi Choir	6:05	
5. Verdi: 4 Sacred Pieces (Quattro pezzi sacri) - Stabat Mater	The Monteverdi Choir	11:47	
6. Verdi: 4 Sacred Pieces (Quattro pezzi sacri) - Laudi alla vergine Maria	The Monteverdi Choir	5:47
7. Verdi: 4 Sacred Pieces (Quattro pezzi sacri) - Te Deum	The Monteverdi Choir	14:53

Luba Orgonasova (Soprano)
Anne Sofie Von Otter (Mezzo Soprano)
Luca Canonici (Tenor)
Alastair Miles (Bass)

Ensemble Monteverdi Choir

John Eliot Gardiner - conductor

This religious masterpiece, composed in memory of the great Italian novelist Alessandro Manzoni (1785-1873), has themes even more cosmic than any in Verdi's other operas: life and death, heaven and hell, the Christian vision of humanity's redemption, the end of the world, and the last judgment. Verdi's music rises to the tremendous demands of this subject matter; it is music of grandeur, guilt, terror, and consolation, with a breadth of vision and an intensity of feeling unique in the composer's work and in religious music. John Eliot Gardiner's is the first recording made with period instruments, a kind of performance that some musiclovers still dismiss as dilettantism, more concerned with musicological correctness than feeling and communication. Gardiner's powerful performance blows such objections away, and this recording takes a rightful place alongside the best modern instrument versions. ---Joe McLellan, amazon.com

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