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A standing ovation
Verdi’s
Requiem sweeps through Colombo
By
Uditha Jayasinghe
Even for one who has no knowledge of classical
music and cannot identify the difference between a crochet
and a quaver would have been swept off their feet by
the Verdi Requiem performance staged by the Symphony
Orchestra of Sri Lanka.
Last performed in Sri Lanka in 1971, the masterpiece,
which is considered to be among Verdi’s best required
a mammoth orchestra and nearly a hundred singers to
carry off not to mention years of planning. According
to Conductor Gregory Rose who masterfully let the performance
at the Anglican Cathedral the first suggestion was made
by him four years ago but with much dedication and the
assistance of the Dr. Earl de Fonseka Trust last Sunday
finally saw a simple sentence come to life.
The large church was packed for the occasion with notables
such as former President Chandrika Bandaranaike Kumaratunga
among the jammed audience. Selected more for its acoustics
than ventilation the Cathedral resembled more an oven
as people spilled in even after the performance started
right at the stroke of seven. Standing or perching precariously
on prayer stools they fanned themselves with programmes
in a desperate attempt to breathe. Twin white screens
were thoughtfully provided to give the people sitting
at the back a front seat view of the performance. Uncomfortable
as the ambience was no one was going to budge until
the last stroke was played.
The orchestra and choir were possibly more uncomfortable
under strong stage lights that added to the heat and
sweat lacquered the faces of all performers. Diamonds
beaded the forehead of Gregory Rose and Soprano Kishani
Jayasinghe, Mezzo Soprano Gayathri Patrick, Tenor Amar
Muchhala and Bass Dhilan Gnanadurai but never did one
gesture, note or facial expression falter or express
that discomfort. A truly professional performance even
in the most humid of conditions enthusiastically appreciated
by a standing ovation.
It is said that the history of Verdi’s Requiem
began with one small step in the wrong direction. The
year was 1873. The date 22 May. Alessandro Manzoni,
the great Italian poet and novelist, who met Verdi in
1868, and whom Verdi greatly admired, visited the church
of San-Fedele. While leaving he stumbled on the steps
of the church and fell.
He died instantly. He was 88 years old. Less than a
fortnight later, Verdi announced to Giulio Ricordi,
a close friend and a publisher, his intentions of writing
arequiem in memory of the poet. Verdi himself was
already 60 years old. He was, at the time, the most
important opera composer of Italy, having already created
almost all of his great operas, except for Otello and Falstaff.
His announcement created a stir in musical circles,
and raised many expectations for a masterpiece of religious-music.On
the 25 June Verdi left with his wife for Paris, where
he began working on the Requiem. The work was completed
by 10 April 1874 and the premiere took place at the
church of San Marco, Milan, May 22.
It was accepted with enthusiasm and later on the Requiem
conquered Europe: 15 Performances in Paris between 1874-1875,
fourperformances in Vienna, and three in London. In
Verdi’s own country the Requiem became so popular
that it was played, at times, without the composer’s
consent, sometimes even by military bands or in settings
to four pianos.. The composer, who wanted the best for
his requiem, and who, when visiting London consented
to its being played only in the Albert-hall, due to
the concert-hall’s excellent acoustics, did not
of course approve of all this.. But by now it was not
only his composition. The requiem was embraced by a
whole continent.
Ultimately, immortality through this piece was given
to Verdi rather than Alessandro Manzoni but the winner
is certainly the soul of any person who listens to this
incredible piece of music.
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