Insightful account of Verdi's Requiem

IT was gratifying to experience this insightful account of Verdi’s Requiem from Ilkley and Otley Choral Societies, with the Leeds Symphony Orchestra conducted by Martin Binks - a repeat of their concert a week earlier at St Margaret’s, Ilkley.

Not the least of the many challenges posed by Verdi in his unashamedly operatic setting is the balancing of dense orchestral and choral textures so that even in the loudest passages of the Dies irae (Day of Wrath) the words are intelligible. This was not always the case last Saturday, but it largely boils down to sheer numbers. 120 choristers singing at maximum volume was not quite enough to cut across the well upholstered sound of the nearly ninety-strong LSO playing at full tilt. However, those brief moments when the choral line was subsumed by Verdi’s thunderous drums and blazing brass - the extra trumpets for the thrilling Tuba mirum were played from the top of the gilded reredos high above the altar - hardly detracted from the overall experience of this totally absorbing performance. The dynamic shading and expressive range of the Ilkley and Otley choirs - trained by their talented young music director Yonni Levy - was heard to considerable effect in the quieter sections. Their opening Requiem Aetertnam and the consoling quality of the Lacrymosa; the dramatically hushed tones of the Libera Me and the exhilarating radiance of the Sanctus all made the greatest impression.

A well blended quartet of soloists acquitted themselves with distinction. Mezzo Joanna Gamble’s Liber Scriptus (a written book will be brought forth) was beautifully phrased and coloured. Joseph Spratt’s powerful tenor nailed the high notes and captured the anguish of the Ingemisco. The diction of veteran bass David Bainbridge was unfailingly clear. Best of all, soprano Heather Jane Taylor’s solo tour de force in the intensely moving Libera me, Domine (Deliver me, O Lord) was utterly compelling. She softly intoned the final words, the music died away and the storm of applause erupted. Martin Binks, the soloists, choirs and orchestra bathed in the deluge of cheers and bravos. I could have quite happily listened to it all over again, albeit without the concert opener. Verdi’s Overture The Sicilian Vespers seemed overly dramatic as a prelude to his Requiem.

Geoffrey Mogridge