Special offer. Donizetti: Messa da Requiem
Carmela Remigio (soprano), Chiara Amarù (alto), Juan Francisco Gatell (tenor), Omar Montanari (bass), Andrea Concetti (bass)
Donizetti Opera Choir, Corrado Rovaris
By turns warm and lyrical, then dramatic and powerful, Rovaris eschews any exaggeration of Donizetti’s intentions and simply lets the music speak for itself – and the performance is all the...
Special offer. Donizetti: Messa da Requiem
Carmela Remigio (soprano), Chiara Amarù (alto), Juan Francisco Gatell (tenor), Omar Montanari (bass), Andrea Concetti (bass)
Donizetti Opera Choir, Corrado Rovaris
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By turns warm and lyrical, then dramatic and powerful, Rovaris eschews any exaggeration of Donizetti’s intentions and simply lets the music speak for itself – and the performance is all the...
About
Lesser known than Mozart and Verdi’s Requiem, Donizetti’s Messa di Requiem in D minor for the death of Vincenzo Bellini is infused with a deeply felt spirituality, that reveals the feelings of sincere admiration and friendship that he had towards the Sicilian composer, who died prematurely in 1835 in France, where the two were in tour with old and new operas rearranged for the local audience. Unfortunately Donizetti himself did not live long enough to hear his work performed, and the Messa was to be premiered only in 1870 in Bergamo, in the Church of Santa Maria Maggiore, where Donizetti is now buried. This release was recorded in that same location and the whole cast received very positive reviews, especially tenor Juan Francisco Gatell that sung the famous Ingemisco aria with an excellent use of mezzevoci and coloratura.
Contents and tracklist
- Carmela Remigio (soprano), Chiara Amarù (alto), Juan Francisco Gatell (tenor), Omar Montanari (bass), Andrea Concetti (bass)
- Donizetti Opera Choir, Donizetti Opera Orchestra
- Corrado Rovaris
- Recorded: 29 November 2017
- Recording Venue: Basilica di Santa Maria Maggiore, Bergamo, Italy
Awards and reviews
January 2019
By turns warm and lyrical, then dramatic and powerful, Rovaris eschews any exaggeration of Donizetti’s intentions and simply lets the music speak for itself – and the performance is all the better for it. The applause at the end betrays the fact this is a live recording, though this is not stated in the booklet.