Requiem is one of the most recognizable works by Wolfgang Amadeus Mozart. It is a majestic composition, commissioned by a patron unknown to Mozart. It is also the last work of Mozart and was unfinished at his death in 1791. The Requiem has two performances at the Lyric Opera with music director Enrique Mazzola conducting the Lyric Orchestra and the Chorus under the direction of Michael Black. This review covers the Thursday night performance.
First on the program is incidental music that Mozart composed for Tobia Phillip's Thamos, King of Egypt. It is not in repertory as much as the Requiem or Don Giovanni, but it has all of the pomp and rich orchestration befitting a story of the son of Ramses in Pharaonic Egypt. It is mostly sung by the full chorus with notable duets and a brief solo by bass-baritone Kyle Ketelson as the high priest Sethos.
The Lyric Chorus is one of the best classical choruses I have heard. For me, a great chorus sings in one voice albeit with different ranges. At the performance I attended, I found the soprano section a bit shrill at the start but they mellowed considerably as the music continued. It was beautifully performed and a privilege to hear another first for Mazzola. He has established himself as an agile maestro with works new to his repertoire including a fine Aida.
While Thamos, King of Egypt was a great first act, I was waiting to hear Requiem. Growing up Catholic, I remember the Latin Mass as mysterious and theatrical. The pleas for salvation from the flames of sin and the pledge to live a sin-free life giving in to God's will are etched in my brain. Mozart was also a Catholic and while the cinematic portrayal of him in Amadeus (1984) is an immature genius, perpetually gleeful, and a libertine, Requiem says otherwise. The performance by the Lyric Orchestra and Chorus illustrate Mozart's reverence for his faith especially as he knew he was near death when he composed Requiem. He was grieving his father Leopold and his health was failing.
The swell of the introduction is the aural image of a cathedral with incense censers swaying. Listening to the different parts of the Mass is an emotional experience. The pleas to the "lamb of God" and the passages about Jesus forgiving the thief and Mary Magdalene as he is sacrificed to save mankind. The Catholic Mass is filled with anguish with sections dedicated to confession, anguish, and lacrymosa (tears). Regardless of my views on the misogyny in religion (Mary Magdalene did not need forgiveness), it was easy to fall under the spell of the music and recall the catechism I learned by rote.
The four soloists were superb and their expertise in giving a performance or a role gravitas was on display. I remember soprano Heidi Stober's performance as Gretel in Hansel and Gretel. She embodied an innocent child who has to call upon inner strength to outwit the witch. Stober brings that zeal and strength to this performance. Her sweet soprano blends beautifully with the full and rich mezzo-soprano of Elizabeth DeShong. Kyle Ketelsen appears again in the quartet and harmonizes with the outstanding tenor Matthew Polenzani. I heard people seated near me audibly gasp when Polenzani sang. His high notes were so pure and intense without any over-emoting that some tenors are prone to do.
The quartet, chorus, and orchestra gave a beautiful performance. I found it to be a moving tribute to the genius of Mozart and faith regardless of denomination. Requiem was unfinished when Mozart died and it fell to his student Franz Xaver Süssmayr to complete the commission. Süssmayr did a fine job completing a classic that will continue to enchant listeners well into the future as much as it did at the Lyric.
Mozart's Thamos, King of Egypt, and Requiem were offered for two performances only, with one left at 2pm today, Sunday, March 24,, at the Civic/Lyric Opera House, 20 N. Wacker Drive. I highly recommend this performance and hope it will be available to hear as a recording because it will probably sell out.
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