Of the artists active today, Ricardo Muti has already been a welcome guest at the Festival for more than forty years. His first conducting engagements there did not just provide the basis for his current “telepathic” relationship with the Vienna Philharmonic, but also brought collaborations with important soloists of the older generation. Thus the new CD in the series Festival Documents includes the Piano Concerto by Robert Schumann under Muti's baton, with Sviatoslav Richter once more proving the uniqueness of his pianistic gifts. Over and above all its virtuoso challenges, Richter and Muti together give an account of the work triumphant in its formal cohesion and in which they sculpt it as a large-scale musical arch. Muti's deep understanding of Rossini and Mozart - represented here by the Overture to Semiramide and the Sinfonia Concertante K 364 respectively - is also clearly evident in these early recordings.

Arrigo Boito, Verdi’s greatest librettist, was also a noted composer, best known for his Italian operatic treatment of Goethe’s tragedy Faust. His Mefistofele is much closer in spirit and letter to the original source than Gounod’s French version of a decade or so earlier. Boito seems to have been more fascinated by Mephistopheles than by the title character (he also augmented the role of another famous villain, Iago, in adapting Shakespeare’s Othello for Verdi). There are numerous complete versions of recordings of Mefistofele on disc, but BBC Music Magazine gave its highest rating to this 1995 live recording from La Scala, conducted by Riccardo Muti: “It is Samuel Ramey who dominates this new recording. Ramey was already a splendid Mefistofele on a 1991 recording, but here he is even more in command of the role, and has the advantage of Muti’s masterly conducting. Michele Crider is an affecting Margherita and Vincenzo La Scola a mellifluous Faust.”

Winner of a 2022 Edison Klassiek Award!

‘A tribute of respectful affection, the expression of my sorrow.’ -Verdi about his Messa da Requiem

The Munich performances of Verdi's Messa da Requiem in October 1981 were concert events that have hardly been equaled since, let alone surpassed – so powerful were the chorus and orchestra, so strictly did the maestro keep his eye on the interpretation, and so superb were the renowned soloists - singers of international renown who gave their all to achieve the best possible result. And they all succeeded brilliantly.

Finally – four decades later - BR-KLASSIK can now present this absolute pinnacle in the performance history of Verdi's MESSA DA REQUIEM on album. The audience was spellbound and totally captivated, and there was glowing praise from the critics: the powerful work, they said, had hardly ever been heard like this on this side of the Alps; Riccardo Muti had demonstrated how Verdi's Requiem should sound; this performance of Verdi's requiem mass was authentic, frightening, tender and terrifying, providing a timid yet hopeful glimpse of transcendence; all in all, a truly resounding success. Wolf-Dieter Peter, a reviewer for the Mittelbayrische Zeitung in Regensburg (see booklet), was there at the time and reported how the extra trumpets positioned in the gallery of the Herkulessaal “blasted a glistening jet of metallic sound across the stalls, almost as if from the afterlife”. It was something, he said, that had "never been seen, heard or experienced like this before... simply unforgettable."

This recording won the 2022 Edison Klassiek Award - equivalent to the GRAMMYs in classical music in the Netherlands - in the category The Document, for an outstanding recording from the past brought forth in the present.

REVIEWS

This brilliant performance of Verdi's Requiem from 1981 voices heaven and hell, love and fear in a sublime synchronicity of conductor, choir and soloists. This live recording lets us hear what happens when everything comes together in an optimal way, namely eternal beauty.

--2022 Edison Klassiek Award Citation

At 35 José Carreras was nearly in the prime bloom of his voice; he sings the “Ingemisco” with style and no signs of operatic excess. Baltsa is also memorable for her musical, totally sincere performance. Nesterenko might not show much comprehension of the text, but he is vocally magnificent.

Jessye Norman is the revelation of the Munich performance. In the soft music she sings with tender delicacy, ravishing tone, and a total lack of the grand manner that would eventually develop. Her “Libera me” is completely secure—it strikes me as the equal for vocal glamor and thrilling high notes of the young Leontyne Price under Fritz Reiner (Decca). Norman doesn’t sound especially Italianate, but that’s a minor consideration, and in the “Libera me” Muti contrasts her intense emotion with hushed mystery from the chorus.

This all adds up to something unexpected, a new addition to the discography of this much-recorded—and much revered—work that deserves to stand beside the classics from any era. That it sounds so splendid is more than welcome, perfectly rounding out a must-listen that no lover of the Verdi Requiem should miss.

 -- Fanfare

BR Klassik has released this live recording of Verdi’s Messa da Requiem to mark the forty years since its performance in October 1981 in the Herkulessaal, Munich. Riccardo Muti’s set of performances conducting the Chor und Symphonieorchester des Bayerischen Rundfunks was greatly acclaimed by audiences and critics alike and were the maestro’s first appearances in the Bavarian city. One does wonder why such an outstanding recording wasn’t released much earlier.

For this performance, Muti assembled an impressive roster of soloists. At the time, the late American soprano Jessye Norman was completing the first phase of her career that had been predominantly based in Europe and had mainly involved oratorios and solo recitals. In 1981, Norman was in her mid-thirties and still a year off making her first USA opera appearance. She excels in the Requiem, her soprano sounding fresh and clean with an unaffected purity and an uncommonly focused projection. Concluding the work is the lengthy Libera me, rather like a complete opera scena. Norman convincingly intones the prayer for absolution followed by the chorus imploring the merciful Lord for his forgiveness on that awful day of judgement with the wrath to come. In particular, the section Requiem aeternam dona eis with chorus is beautifully achieved by Norman, gloriously soaring seraphically to her high notes without strain and ending in a hushed whisper.

A late replacement in the part, Spanish tenor José Carreras was also then in his mid-thirties and in his prime. Featuring in many Verdi opera performances and recordings, Carreras is noted for his passionate expression and the beauty of his voice. In the Ingemisco the tenor implores God that on the last day of judgment, He will forgive his sins and grant him mercy. With his voice in such splendid condition Carreras might well be singing an opera aria, yet he delivers the sacred text with dedication, retaining reverential conviction.

Renowned Greek mezzo-soprano Agnes Baltsa was no stranger to Munich, having undertaken part of her training in the city. In 1980 she was honored with the title of Kammersängerin of the Wiener Staatsoper. Under Muti’s baton, in the Liber scriptus section of the Sequentia, the resolute Baltsa gives her all, standing out in a performance of real passion.

The bass role is taken by the Moscow-born Yevgeny Nesterenko. A member of the Kirov, in 1971 Nesterenko joined the Bolshoi, becoming renowned as a leading bass in the company. A greatly experienced singer, his unaffected voice isn’t as weighty and voluminous as many basses, yet it can produce color and displays a talent for expression.  He is best heard in the Confutatis maledictis where his grayish tone attains a fulfilling level of menace that isn’t overplayed. Prepared by British chorus master Gordon Kember, who was new in the role, the glorious-sounding and well unified Chor des Bayerischen Rundfunks provides an invaluable contribution.

Muti’s conducting communicates a palpable sense of occasion, producing a performance that achieves at turns extreme beauty, bitter sorrow, fierce intensity, and sacred awe. Striking in magnificent opening of the Dies irae, the large forces come together for a compelling and full-blooded depiction of Judgement Day.

Recording in the renowned acoustic of the Herkulessaal the sound engineers provide splendid clarity and balance, astutely capturing an atmosphere that feels ideally suited to the sacred text. (By the way, additional trumpets were positioned at the rear of the hall gallery). There is an essay ‘Intensely Gripping’ by Wolf-Dieter Peter, and a summarized version of a conversation between recording producer Wilhelm Meister and recording engineer Martin Wöhr. Latin texts with English translations are included in the booklet.

Overall, this 1981 Muti performance of Verdi’s magnificent Messa da Requiem has convincing impact. Standing out is the spine-chilling dread of the Dies Irae that contrasts markedly with the inspiring and consoling elements of the score. It is simply top drawer.

--MusicWeb International (Michael Cookson)

This album features overtures, choruses and intermezzos drawn from masterworks by Verdi, Puccini, Mascagni, and Boito, played with mastery by Music Director Riccardo Muti and the Chicago Symphony Orchestra and Chorus. Having presented these works numerous times during his tenure as music director of the Teatro alla Scala in Milan, Maestro Muti performed them with the CSO in the 2016/17 season. Recorded live during concerts in June 2017, this album presents a virtuosic showcase of 19th-century Italian music in all its passion, joy and heartbreak. Produced by David Frost, winner of sixteen Grammy awards, most recently in January 2018 for Classical Producer of the Year, this release spotlights the magnificent connection between the Chicago Symphony Orchestra and Maestro Muti.

The well-chosen program includes idiomatic performances of the prelude to Nabucco and the Vespri Siciliani overture. Moving from Verdi to Puccini and Mascagni, Muti luxuriates in the authoritative use of rubato and portamento to wrench every bit of pathos from the intermezzos from Manon Lescaut and Cavalleria Rusticana. These are performances that will be hard to beat. That said, if one goes back to compare Muti to Toscanini, there is one difference that is striking. For Muti the orchestra is a single united, glossy instrument. In Toscanini’s readings, each section of the orchestra steps up for their “group solos” with the vibrancy of opera stars taking their parts.

— American Record Guide

This outstanding new live recording brings together groundbreaking works by Arnold Schoenberg and Dmitri Shostakovich, two of the twentieth century’s most monumental composers. Arnold Schoenberg’s Kol Nidre is set to the Jewish prayer which is said on the eve of Yom Kippur, the Day of Atonement. The work premiered in Los Angeles in 1938, four years after Schoenberg fled Europe, and one month before the anti-Jewish Kristallnacht took place across Nazi-occupied Germany. Philip Huscher described the work as a “stark, strong modernist statement.” Shostakovich’s Suite on Versees of Michelangelo Buona explores themes just as weighty, including love, morality, death, and the resilience of the human spirit, all shown through the poetry of Renaissance great, Michelangelo. The work was originally conceived to honor Michelangelo’s 500th birthday. The Chicago Tribune commented on these performances, “Such was his textual penetration that [Abdrazakov] was able to extract the full emotional weight of the words and music, abetted by Muti’s finely detailed exposition of the spare orchestral fabric.”

Chicago has long been a welcoming home to the working composer, and the Chicago Symphony Orchestra at the heart of the musical life they found in the city. The three American composers whose music is performed on this recording all have important ties to the CSO, from Philip Glass’ formative years as a student listener in Orchestra Hall in the 1950s, to Jessie Montgomery, who is the Orchestra’s Mead Composer-in-Residence today, and Max Raimi, who is both a prolific composer and a longtime member of the Orchestra’s viola section. 

The works by Montgomery and Raimi were both their first CSO commissions, and these are their world premiere performances. Montgomery’s Hymn for Everyone is a meditation for orchestra that speaks to the significance of her emergence in today’s cultural climate through its reflection on the personal and collective challenges of the spring of 2021. In it, a hymn-like melody traverses different orchestral choirs to poignant effect. For each poem in Raimi’s Three Lisel Mueller Settings, he selects an admired colleague to enter into a dialogue with the soloist, mezzo-soprano Elizabeth DeShong. This highlights the talents of Principal Clarinet Stephen Williamson in a frenetic waltz, Principal Bassoon Keith Buncke in a tragic elegy and Principal Bass Alexander Hanna in a metaphor for hope, with soaring, song-like phrases that transcend standard conceptions of the instrument’s expressive possibilities.

Glass’ Eleventh Symphony is part of the symphonic tradition that captivated him as a student. Each movement has its own unique character — the first bold and driving, the second crowned by a slowly unfolding melody and the third a barrage of cascading energy and racing percussion.

For Glass in the 50s, it was Fritz Reiner. Now Riccardo Muti champions the compositional voices of the age with the Chicago Symphony Orchestra. “It takes courage,” says Glass of the Orchestra’s legacy of performing contemporary music, “and that courage becomes a tradition.”

REVIEWS:

This album stands as testimony to the Italian master’s innate musical understanding and ability to bring out the best in almost everything he conducts.

-- Gramophone

Glass delivers a variant of the crowd-pleasing movie music he has trademarked for decades. It is hard to gainsay America’s most prolific and popular serious composer. Muti’s performance is all that it could be, and the orchestra lends glamour to the score.

-- Fanfare

Riccardo Muti leads the Chicago Symphony Orchestra, men of the Chicago Symphony Chorus and bass soloist Alexey Tikhomirov in this poignant performance of Shostakovich’s Symphony No. 13, Op. 113 (Babi Yar). Recorded live in September 2018, the ensemble shines throughout—from passages requiring the sheer sonic force of the first movement to the indelible moments provided by single instruments, reminding the listener that despite the enormity of its theme, this is, after all, a symphony of individuals. Muti and musicians expertly navigate the intricacies of the five movements, each set to the poetry of Yevgeny Yevtushenko and expressing themes that were dear to Shostakovich—revolution and war, the individual’s role in society, idealism in the face of easy compromise, prejudice and intolerance. Yevtushenko said, “Over people like Shostakovich death has no power. His music will sound as long as humankind exists. . . . When I wrote ‘Babi Yar,’ there was no monument there. Now there is a monument.”

-----

REVIEWS:

There are American ensembles with a more sustained Shostakovich tradition than the Chicago Symphony but the present recording, taken from the opening concerts of the orchestra’s 2018-19 season, can stand comparison with any of its distinguished predecessors, however different in tone. Strongly recommended.

– Gramophone

The tone virtually throughout is dark and intense, most particularly the opening movement which sets the title poem. Muti confirms his identification with this work in its subsequent movements. Tikhomirov, rich-toned and sentient throughout, is backed by a superbly characterful Chicago Symphony Chorus.

– BBC Music Magazine

The CSO’s performance, with bass Alexey Tikhomirov and the men of the Chicago Symphony Chorus, revealed Muti’s continuing devotion to Shostakovich’s often-shattering music. It was the first concert of the CSO’s new Symphony Center season, and the audience’s mood was festive. Muti channeled that excitement into rapt, almost reverent attention with a searing performance of a dramatic work that is very close to his heart.

– Chicago Sun-Times