Patrick Dupré Quigley, conductor
Lauren Snouffer, soprano
Emily Fons, mezzo-soprano
Steven Soph, tenor
Dashon Burton, bass-baritone
Blossom Festival Chorus
Robert Porco, director
August 18, 2017
Mozart: Requiem, K626
In a thrilling close to this season’s triptych of Summers@Severance offerings, the Cleveland Orchestra joined forces with the Blossom Festival Chorus and a quartet of vocal soloists in Mozart’s enigmatic final work, the incomparable Requiem (presented in the familiar completion by Franz Xaver Süssmayr). Making his podium debut was Patrick Dupré Quigley, founder and artistic director of the South Florida based choral ensemble Seraphic Fire, who collaborated with the Orchestra in last March’s memorable performance of Stravinsky’s Threni. Not one to be restrained by the conventions of historical performance practice, Quigley opted for an orchestra and chorus expansive in number, what it may have lacked in authenticity it more than made up for in a rich tapestry of sound.
From the opening bars of the Introit, one was struck by the gripping intensity and seriousness of purpose, and the resonant tones of the pair of basset horns offered an early instrumental highlight, while Joela Jones’ organ gave matters an almost monastic quality. With graceful gestures, Quigley adroitly held all the moving parts in tight alignment, and soprano Lauren Snouffer provided and heaven-reaching solo passage. The brief Kyrie was marked by an intricate fugato, with all voices deftly balanced and clearly delineated.
Ample fire and passion filled the Dies irae to open the extensive Sequence, and rapid execution was to be found in this technical tour de force. The Tuba mirum constituted a further highpoint, with the heft of bass-baritone Dashon Burton in dialogue with the trombone, and the more strained quality of Steven Soph’s tenor offered effective contrast. The full force of the chorus was rallied in the ensuing Rex tremendae, coming together in especially striking fashion on the word “majestatis”, a majestic moment indeed. All four soloists had their due in the Recordare; in spite of the relatively youthful age of the quartet, they attained a balance and chemistry one would expect from a much more seasoned group.
A menacing vigor drove the Confutatis, with particular grit in the strings, only to be countered by the angelic voices of the female choir. A resounding major closed the famous Lacrymosa, a glorious moment which could hardly have been anticipated by the innocent sighs with which it began. The polish of the Blossom Festival Chorus (incidentally, a volunteer group) truly shone in the Offertory, and further in negotiating the counterpoint of “Osanna in excelsis” which concluded both the Sanctus and Benedictus.
Melancholy returned in the august Agnus Dei (this is, after all, a requiem), and the wistful introspection of the opening was invoked in the concluding Lux aeterna, surely the most inspired moment of Süssmayr’s completion. Snouffer was effective in her final solo, and the weight of the chorus built to one last fugue. A dramatic pause kept the audience spellbound before delivery of the concluding line, a memorable finish to a very successful summer season at Severance Hall.