KALAMAZOO GAZETTE, Saturday, April 22, 1995
By C.J. Gianakaris - SPECIAL TO THE GAZETTE
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Verdi's famed "Requiem Mass" (1874) served as centerpiece for a rousing close to the Kalamazoo Symphony Orchestra's 73rd season Friday night at Miller Auditorium.
Tackling the "Requiem" is a daunting venture, and the KSO prudently enlisted the finest musical forces it could muster. Joining the orchestra under Maestro Yoshimi Takeda's baton were Thomas Kasdorf's Kalamazoo Singers Community Chorus and four superb guest soloists.
Each contribution fit into place, filling every cubic centimeter of Miller's giant hall with Verdi's gorgeous music, gorgeously performed. It was a thrilling concert to add to one's musical memory bank.
Written after he had composed the bulk of his opera masterpieces, the "Requiem" by Verdi nonetheless reflects no falling-off in imaginative powers. Using a variation on the Requiem Mass structure, Verdi arrives at seven designated sections. But the longest and most varied by far is the second one, "Dies Irae." There, a dozen distinct ensembles and moods emerge.
In only partial jest, music lovers call the "Requiem" one of Verdi's finest "operas," given its high dramatic intensity. Performers of utmost musicality are required to make this piece work. From the KSO's splendid playing, it was evident Maestro Takeda had his forces ably prepared.
Guest soloists also proved top-notch. Soprano Rochelle Ellis displayed a sweet, clear and superbly projecting voice from the opening "Kyrie" portion on. Her part in the Offertory section ("Domine Jesu Christie") emerged as celestial, with muted violins accompanying her line.
Mezzo-soprano Karen Brunssen, offering slightly less projection, still sang with honeyed smoothness that usually fit comfortably with Ellis' timbre during their ensembles. Dennis McNeil provided a clarion tenor with an extraordinarily reliable pitch and always intelligent interpretation.
Replacing the indisposed bass Kevin Bell was stalwart Metropolitan Opera bass-baritone John Cheek. Though he arrived on the scene only the day before, Cheek sang wonderfully. A commanding bearing and marvelous bottom tones helped make his part effective throughout.
Just as significant in Verdi's score as any of the soloists, however, is the chorus. Listeners had to marvel at the vocal quality of Kasdorf's 180 or so singers. Fluid, precise with attacks and releases, and unfailingly beautiful to hear, the chorus more than upheld its portion in this "Requiem." Maestro Takeda correctly read the capabilities of the chorus, the orchestra and soloists. With alert directing and evident musical understanding, he elicited top performances from everyone on stage. As the last echoes of the closing "Libera Me" were dying, the nearly full house arose to acknowledge the KSO's splendid rendering of Verdi's choral masterpiece.
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