Contibuted: Hungarian and foreign singers, Austrian and Croatian choirs
Conductor: Péter Dobszay
When Gioachino Rossini died in 1868, Giuseppe Verdi (1813-1901) suggested he thought the great opera composer should be commemorated with a mourning mass. In his view, each movement in the requisite would have been composed by a different composer, moreover, without consideration. He himself wrote the last movement of the piece, Libera me, but the great collaboration turned nothing into jealousy and indifference among the composers. Two years later, at the urging of a friend, he began to deal with the piece, but the final push was given by the death of Alessandro Manzoni, one of the greatest poets of Italian romance, one of the leading figures of the Risorgimento. He also wrote further movements of the work in a year, and the performance took place on May 22, 1874, the first anniversary of Manzoni’s death, at San Marco Cathedral in Milan, conducted by Verdi, with great success. The demands of Requiem in Italy were followed by a quick series of European successes. As part of this tour, it was said that the company would also visit Budapest, but this was not possible due to problems with arranging a date. but the work was in the National Theater under the direction of Sándor Erkel by this time Verdi, the bloody opera composer, could not lie to himself, his new piece has an opera-like sound in many ways, what’s more: the opening melody of one of his movements, Lacrimosa, actually comes from one of his operas (although he didn’t actually use it there). Apart from the liturgical aspects, Verdi wanted to form a personal, human drama, creating a work that focuses on the individual’s world of experience. Direct, he sought captivating, operatic expression, intelligible melodicity. This is partly due to the popularity of the Requiem to this day, it is mainly performed as a concert piece, although it also occurs in a liturgical setting.