Philistine: Verdi's Requiem

Verdi's Requiem is the composer's most famous non-operatic work, and it does work not unlike an opera anyway: there is an almost narrative development, and a succession of arias, duets and ensemble pieces. The piece lasts about 90 minutes, without a break in our pleasure. The chorus shoulders more load than in a typical opera, and accommodates itself of the task with gusto.

Chorus director Vance George, who has led the chorus for the last 23 years, and who is retiring at the end of the season, is just leaving on a high note. You can call him Vance George Costanza. Grant him, if not eternal peace, at least some well deserved rest. Rarely have we witnessed such ensemble precision from such a large chorus. That a large chorus could get goosebumps out of us in the forte, that's welcome, but not unexpected. But we did not expect that the chorus could display such lightness, that the women section could sound as a children's choir in its delicacy.

The real treat of the show was the two divas, Christine Brewer and Stephanie Blythe. We've heaped praise on Blythe and the SFS Chorus for Mahler's Symphony No. 8. She gets seconds, and for the same reasons: she never forces anything, yet the music flows out of her perfectly shaped. She makes it look easy. This time, she even displays more passion, mouthing the "Nil, nil, nil" line with intense emotion.

But paired with Christine Brewer, she makes it look like fun as well. Christine Brewer was Blythe's peer in that effortlessness in making pearls out of notes. But Brewer and Blythe share a few duets and each time sang together with an obvious chemistry, and an obvious pleasure. You could see them exchange smiling glances while singing their Offertorio or their Dies Irae duets. Brewer sounded as an angel-like flute, while Blythe was a warmer cello, each complementing and challenging the other. We were openly smiling ourselves.

Brewer rose above the final fuga, opening up above the backdrop of the Chorus and the orchestra, a flower blossoming up over the sound tapestry. That is when Conlon demanded total silence for the second time, holding is hand up, prolonging the splendid performance with a pause to appreciate it one more time and collect our thoughts.

The only weak point of the performance ended up being tenor Frank Lopardo. He was shouting in the Kyrie, and what happened when one shouts too much happened: he ended up hoarse, and coughing on stage, and it was not pretty. Luckily, he got his act together eventually, and hopefully his voice recovered for this week's performances on Wednesday, Saturday and Sunday.

Verdi's Requiem
3 more performances:
Wednesday and Saturday, 8pm
Sunday, 2pm
Davies Symphony Hall
201 Van Ness Ave
Box office: 864-6000