This Requiem has long been overshadowed by Serafin’s 1939 recording with Gigli and Pinza; hearing this 1959 set after many years, it stands up beautifully and can be highly recommended. The hushed opening mesmerizes and the “Dies irae” and big fugue in the “Libera me” could knock you out of your seat; Serafin’s credentials as a Verdian are never in doubt. Despite fleet tempos (within three minutes of Toscanini’s 1940 reading), this is a Requiem of the “pious” rather than “theatrical” variety, with much inward singing and all of Verdi’s softer markings scrupulously observed. Even the powerhouse Fiorenza Cossotto, here at the start of her career, sings softly and gently when called for.
The soloists are all impressive. Shakeh Vartenissian, of whom I’ve heard nothing else, has a big, exciting, absolutely accurate soprano, capable of riding the huge climaxes and handling the long breaths and the soft singing. She might not turn the “Libera me” into the great dramatic scene it sometimes can be, but she’s excellent in every other way. Tenor Eugenio Fernandi, whom collectors know as the Calaf on Callas’ Turandot recording, sings handsomely here, and even occasionally sounds like Björling (only occasionally). He infuses the text with meaning and reins in his voice for the introspective moments. Boris Christoff, who sounds and behaves like no other bass on earth, is just that–unique. Some listeners object to his extroverted style; I find him riveting. The chorus sounds steeped in the Verdi style, singing with passion, plenty of exciting vibrato, and fine pitch. The sound is excellent early stereo.
Included on the second generously-filled CD are the overtures to Vespri and Giovanna d’Arco, both of which receive thrilling readings, and choruses from five other Verdi operas. If you like this sort of thing, these are excellent examples, though the recordings are in mono and sound somewhat boxy. A fine set! [7/25/2007]
