With artistic director and conductor Daniel Moe stepping down from the podium, Sarasota's Key Chorale is truly ending an era. However, this was an era that ended with a triumphant surge in a performance of Verdi's "Requiem" Monday at the Van Wezel Performing Arts Hall. Initially criticized for being too operatic for religious music, this requiem contains such a broad range of raw and real human emotion that no one can fault Verdi for utilizing all the musical and dramatic devices for which he was known.
After all, it does deal with death, loss, redemption and mankind's fear of the unknown. How much more operatic can you get? The "Requiem" began with a sense of hushed awe and gravity over brooding lower strings as first the chorus, then one by one, the soloists -- tenor John Daniecki, bass Jonathan Deutsch, soprano Stella Zambalis, and mezzo-soprano Malin Fritz -- entered in the "Kyrie.
" The "Dies Irae" that followed ripped open with a hellish cry from orchestra and chorus, an unforgettable and hair-raising signature that recurs throughout the work. Yet the terror was accompanied by some luscious moments, such as a sweetly sentimental duet of the "Recordare" by Zambalis and Fritz, followed later in the "Agnus Dei" by the same soloists. Daniecki's compelling and well-defined tenor rang out in the "Ingemisco" and provided a bright edge to the ensemble throughout.
With a fatherly and sage bass, Deutsch was at times a bit too mellow for the heft of the music. Yet this quartet sang quite effectively together under Moe's direction, as did the chorus. The "Libera Me" concludes the work (it was actually composed first), and it almost stands alone with its own internal structure from solo soprano pronouncement and choral chant rising through "Dies Irae.
" The soprano again shines in the "Requiem Aeternam" before the chorus breaks into a contrapuntal treatment of "Libera Me." where the exultant color of combined forces finally ebb into a peaceful repose and intoned chant of release. In his final performance with Key Chorale, Moe must have felt nothing but pride for the chorus, which sang at its best with a unanimity and blend in even the most problematic voices and registers.
Without counting, one could guess there were almost 200 musicians on stage with the full orchestra, chorus and soloists. With the exception of a few intonation challenges in exposed upper strings and misalignment with vocal soloists, the orchestra played with evocative power and presence. All performers on the stage deserve their credit, but it was in honor of Moe and his lifetime of service to choral music that the audience gave its generous cheers and a standing ovation.
Bravo, Maestro Moe, you've given us so much to remember. Last modified: May 03. 2007 12:00AM
With artistic director and conductor Daniel Moe stepping down from the podium, Sarasota's Key Chorale is truly ending an era.
However, this was an era that ended with a triumphant surge in a performan . . .
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