As of: February 25, 2024, 4:34 p.m
By: Markus Thiel
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An extremist: Daniele Gatti at the podium in the Isarphilharmonie.
© Tobias Hase
The man knows a lot about the work.
So much so that he also performs the Verdi Requiem: Daniele Gatti with the Munich Philharmonic Orchestra and the Philharmonic Choir in the Isarphilharmonie.
Sometimes what happens to this performance is that nothing happens at all.
In “Hostias,” for example, when the music stands still and tenor Francesco Meli has all the time in the world to demonstrate his fine mezzavoce.
Or in “Agnus Dei”, which the two solo ladies perform quite fluently, while the Philharmonic Choir has to sing the repetition after the conductor comes to an emergency stop.
Only the guest at the podium knows why this is all the case in this Verdi Requiem.
And Daniele Gatti knows a lot about this work.
About details, sound layers, phrasing processes.
So much that he would like to show everything in the Isarphilharmonie.
An extremist.
What the Munich Philharmonic's performance has a problem with is that it is a performance, an artificiality, almost a dressage, a less organically and logically developed interpretation.
Sure, there are strong moments: the ghostly beginning at the threshold of hearing, the “Rex tremendae”, which is compellingly increased in terms of tempo and decibels, and the wonderfully relaxed “Sanctus” fugue.
Self-confident soprano stand-in
The best thing to listen to is the Philharmonic Orchestra in this operatic literature - never too pretentious or edgy, with a catchy, plastic, noble sound, especially in banger moments like “Dies Irae”.
The choir also sounds remarkably balanced, not overexcited for a second, with excellent text handling.
And what's really amazing is how everyone follows the erratic Gatti and reacts to his changes in scenery without it taking anyone out of the curve.
Of all people, the stand-in acts the most unruffled and self-confident.
Iulia Maria Dan came on at short notice for Marina Rebeka.
She sings her part with a dark, bitter sound, sure of the pitch, slim.
And the fact that she even sounds darker than mezzo-soprano Okka von der Damerau is another curiosity of this performance.
The Munich audience favorite is initially not optimal in the intonation track, but in “Lux aeterna” it is finally in its usual form.
Alex Exposito (bass) is there with robust intensity.
As always, Francesco Meli leaves nothing to be desired: a dramatic tenor who can elegantly intercept his phrases on the piano.
Homogeneous solo quartets are the exception in the Verdi Requiem, which also falls apart.
And now, we wish everyone involved to get back on track - to make music in a completely relaxed manner.