For those looking for a modern-instrument performance of Mozart’s Requiem (in the Süßmayr completion), look no further. If ever there was an example of Jansons’ art, this is it.
There will be adherents of Jansons’ live Concertgebouw performance (which shares two soloists with this one: Kühmeier and Padmore; Kulman and Plachelka were replaced by Bernarda Fink and Gerald Finley respectively). But I do suggest this reading, it is satisfying from all perspectives.
Taken from live performances on May 11 and 12, 2017, this Bavarian performance is superbly considered. Drama is there, but not over-frought; the orchestral palette, while muted in comparison with period performances, is beautifully varied, the woodwind in the Agnus Dei perfectly incorporated:
Listen to the shading of the opening, the strings perfectly judged, the plaint of the bassoon infinitely touching:
The soloists are exceptional: Mark Padmore at his “Mors stupebit” wlll no doubt be criticised by some for being over the top, but he carries such power. At the opening of the “Tuba mirum”, it is Plachetka who is fathers, perhaps not the blackest of basses. Listen out for Genia Kühmeier’s radiant contribution thee, too:
The two female voices have such presence to them (and work so well together). And when it comes to the choral contributions, Jansons manages power and clarity: try the ‘Cum sanctis’ from the ‘Lux aeterna’:
Also, the “Benedictus,” where the two female voices and woodwind are a revelation:
The recording is stunning, But this is far more than a hi-fi demonstration: Jansons’ take is deeply spiritual, the choral sound resplendent (try the “Rex tremendae” or the “Dies irae”). But there are also those restrained choral moments that touch to the quick, prime among them the “Lachrymosa”; and listen to Jansons’ attention to detail in the phasing of the strings:
A gem of a recording of Mozart (and Süßmayr’s) classic.
This disc is available at Amazon here. Streaming links below.
Completion: Franz Xaver Süssmayr… and here’s the Concertgebouw recording:
