Saint-Saens Messe de Requiem
Some noses may turn up, but vocal Saint-Saëns produces delightful results
View record and artist detailsRecord and Artist Details
Composer or Director: Camille Saint-Saëns
Genre:
Vocal
Label: Chandos
Magazine Review Date: 13/2004
Media Format: CD or Download
Media Runtime: 74
Mastering:
Stereo
DDD
Catalogue Number: CHAN10214

Tracks:
Composition | Artist Credit |
---|---|
Messe de Requiem |
Camille Saint-Saëns, Composer
Camille Saint-Saëns, Composer Diego Fasolis, Conductor Francesco Cera, Organ Guillemette Laurens, Mezzo soprano Luca Lombardo, Tenor Marie-Paule Dotti, Soprano Nicolas Testé, Bass Radio Svizzera Choir, Lugano Svizzera Italiana Orchestra |
(2) Choeurs, Movement: Calme des nuits |
Camille Saint-Saëns, Composer
Camille Saint-Saëns, Composer Diego Fasolis, Conductor Radio Svizzera Choir, Lugano |
(2) Choeurs, Movement: Les fleurs et les arbres |
Camille Saint-Saëns, Composer
Camille Saint-Saëns, Composer Diego Fasolis, Conductor Radio Svizzera Choir, Lugano |
(2) Choeurs, Movement: Des pas dans l'allée |
Camille Saint-Saëns, Composer
Camille Saint-Saëns, Composer Diego Fasolis, Conductor Radio Svizzera Choir, Lugano |
Pastorale |
Camille Saint-Saëns, Composer
Camille Saint-Saëns, Composer Diego Fasolis, Conductor Marco Patuzzi, Piano Radio Svizzera Choir, Lugano |
Romance du soir |
Camille Saint-Saëns, Composer
Camille Saint-Saëns, Composer Diego Fasolis, Conductor Radio Svizzera Choir, Lugano |
(3) choeurs, Movement: Salut au chevalier printemps (P Fournier) |
Camille Saint-Saëns, Composer
Camille Saint-Saëns, Composer Diego Fasolis, Conductor Marco Patuzzi, Piano Radio Svizzera Choir, Lugano |
(Les) guerriers |
Camille Saint-Saëns, Composer
Camille Saint-Saëns, Composer Diego Fasolis, Conductor Radio Svizzera Choir, Lugano |
(2) choeurs, Movement: (Les) marins de Kermor |
Camille Saint-Saëns, Composer
Camille Saint-Saëns, Composer Diego Fasolis, Conductor Radio Svizzera Choir, Lugano |
Aux conquérants de l'air |
Camille Saint-Saëns, Composer
Camille Saint-Saëns, Composer Diego Fasolis, Conductor Marco Patuzzi, Piano Radio Svizzera Choir, Lugano |
(2) choeurs, Movement: Chanson de grand-père |
Camille Saint-Saëns, Composer
Camille Saint-Saëns, Composer Diego Fasolis, Conductor Marco Patuzzi, Piano Radio Svizzera Choir, Lugano |
Author: rnichols
With many composers you can say they wrote more idiomatically either for voices or instruments. But Saint-Saëns seems to have been equally at home in both media, so that whatever he writes is not merely grateful to sing or play but to listen to as well. I know that for some the epithet ‘grateful’ will be tantamount to a write-off of the work concerned. That’s their loss. Because with Saint-Saëns ‘grateful’ only rarely equals ‘vacuous’.
On the face of it there might be no particular virtue in completing a 35-minute Requiem in eight days, as he did in 1878; more to the point, the result is a moving if sober work, close to Fauré’s in spirit though quite different in most particulars. It’s a pity the tenor soloist should belong to the unreconstructedly lachrymose, operatic school, and the only upside to this is that when he sings ‘Ingemisco tamquam reus’, we believe him. Otherwise, the soloists are quite acceptable, even if the bass does introduce an unwonted ironic element by ending the phrase ‘nil inultum remanebit’ (‘nothing shall remain unavenged’) on a slightly sharp C, which the horn promptly ‘corrects’ with the note at true pitch. But these minor irritations aside, choir and orchestra give a sensitive, spirited reading of this fine score, absent from the catalogue for a couple of years. I was particularly impressed by the singing at the start of ‘Rex tremendae majestatis’, where Saint-Saëns was clearly determined not to do the obvious thing.
He developed the avoidance of cliché into a fine art in his secular choral works, too. The 10 here cover his whole working life and give us a good idea of what a supreme artist and technician he was. Time and again, just one note will go in an unexpected direction, or else stay put when you expect it to move, with curious and delightful results. The Radio Svizzera Choir do the composer proud, and in three of the songs the pianist Mario Patuzzi provides tidy, stylish accompaniments.
On the face of it there might be no particular virtue in completing a 35-minute Requiem in eight days, as he did in 1878; more to the point, the result is a moving if sober work, close to Fauré’s in spirit though quite different in most particulars. It’s a pity the tenor soloist should belong to the unreconstructedly lachrymose, operatic school, and the only upside to this is that when he sings ‘Ingemisco tamquam reus’, we believe him. Otherwise, the soloists are quite acceptable, even if the bass does introduce an unwonted ironic element by ending the phrase ‘nil inultum remanebit’ (‘nothing shall remain unavenged’) on a slightly sharp C, which the horn promptly ‘corrects’ with the note at true pitch. But these minor irritations aside, choir and orchestra give a sensitive, spirited reading of this fine score, absent from the catalogue for a couple of years. I was particularly impressed by the singing at the start of ‘Rex tremendae majestatis’, where Saint-Saëns was clearly determined not to do the obvious thing.
He developed the avoidance of cliché into a fine art in his secular choral works, too. The 10 here cover his whole working life and give us a good idea of what a supreme artist and technician he was. Time and again, just one note will go in an unexpected direction, or else stay put when you expect it to move, with curious and delightful results. The Radio Svizzera Choir do the composer proud, and in three of the songs the pianist Mario Patuzzi provides tidy, stylish accompaniments.
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