Giuseppe Verdi - Messa da Requiem

Although Requiem was a religious work, it was presented more in concert halls than in churches. Giuseppe Verdi wrote the famous Requiem in honour of his close friend, Alessandro Manzoni, the great Italian poet, writer, and humanist, who died in 1873. It is a powerful fusion of intense drama and passion, with moments of reverent simplicity. Verdi conducted the first performance at St. Mark's Church in Milan on May 22, 1874, the first anniversary of Manzoni's death. Revolutionary composition Verdi's Requiem has been revolutionary in two respects: First, because while the traditional requiem is a prayer of the living for the dead, Verdi's work was a function as much for the living as for the dead. As Verdi would expect, it's a dramatic, theatrical play. Written for four solo voices (soprano, mezzo-soprano, tenor and bass) with full choir and orchestra, it follows the typical Roman Catholic Latin mass for the dead. The "libretto" certainly comes from the dram
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Carl Maria von Weber - Oberon Overture

 

Costume design for one of Weber Oberon's opera characters. Although the work is rarely performed nowadays, at its premiere in London in 1826, it was a huge success.

Oberon Opera  (or The Elf King's Oath) is a 3-act romantic opera and was Carl Maria von Weber's last. He composed it for the Theatre of London's Covent Garden (not for the current building that houses the opera house) and directed its premiere on April 12, 1826, to the cheers of the audience. Unfortunately, he was very ill and the workload required by the opera accelerated his death in London on 5 June 1826.

Oberon's libretto by James Robinson Planché was based on the German poem Oberon by Christoph Martin Wieland, which itself was based on the epic romance "Huon de Bordeaux" (a medieval French tale). However, like Euryanthe, it has never had any real success in its performances, although the introduction is still a much-loved concert work.

Some of the opera's characters are the same as those in Shakespeare's play "Summer Night's Dream," but the story differs. 

The opera is scored for 2 flutes, 2 clarinets (in A), 2 oboes, 2 bassoons, 4 horns (in D and A), 2 trumpets (in D), 3 trombones (alto, tenor and bass), strings and timpani.

The Overture gently introduces three notes of Oberon's magic horn, while there are drowned string phrases, ethereal waterfalls of notes on the woodwinds and a serene antithet of the opera's triumphant march.

A sudden chord performed by the entire orchestra removes the spell of this seductive slow introduction. The rhythm periodically slows down with the return of the horn call, followed by the theme of an important aria of the opera, which is performed for the first time by the solo clarinet and then adopted and developed beautifully by the violins.

In the stormy central section, excerpts of the melody are launched incessantly. Finally, the recap ends with the interpretation of the extended central theme by violins, which is brilliantly supported by all the woodwinds.



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