- Review: Mozart’s ‘Requiem’
performed by Hudson Opera Theatre
By MARCUS KALIPOLITES
For the Times Herald-Record
Published: 2:00 AM - 09/22/10
MIDDLETOWN — Hudson Opera Theatre is paying homage to Mozart
with a two-weekend presentation of his “Requiem.”
- In Sunday afternoon’s first
presentation at the United Presbyterian Church of Middletown,
it was a reverential as well as engaging performance by the 28-voice
mixed chorus and 20-piece orchestra. And directing the entire
ensemble was artistic director Ron DeFesi, who, besides effective
conducting, also provided his listeners, during his preconcert
talk, with background details about the composer and his work.
- It was in the opening movement, “Requiem,” that
the orchestra set a somber mood before the dark-colored voices
of the choristers intoned (in translation: “Eternal rest
grant unto them”). Enjoining the prayerful movement was
the lyric and clear voice of soprano Robin Rubendunst.
In the “Kyrie” movement that
followed, the resounding “Kyrie eleison” delivered
by the male voices was answered by the polyphonic and continuous
florid passages by the soprano and alto sections. Here, and throughout,
the choristers delivered clear enunciation of the Latin text
and quality singing of round sounds. It helped, also, that the
resounding acoustics of the church provided an extra measure
of elegance.
- At the outset to “Sequentia:
Tuba Mirum,” a short trombone solo of florid movement was
joined by bass soloist Andrew Martens in a duet before mezzo-soprano
Mariella Nocetti, tenor Kurt Alakulppi and soprano Rubendunst
joined to round out the movement dealing with judgment.
- With forceful and commanding repeats
of the word “Rex,” the chorus returned to deliver a
full-throated “Sequentia: Rex Tremendae,” which concluded
with a resolute and drawn-out delivery on “Salve me.”
The first half of the program concluded with a dark-toned orchestral
introduction to “Sequentia: Lacrimosa” with its powerful
“Judicandus homo reus.”
- As absorbing as any movement performed
by the singers was the dynamic repeats of “Sanctus, Sanctus,
Sanctus,” whose movement also included the driving energy
of “full of the glory.” For contrast, the four soloists
(sans chorus) followed with a meditative “Benedictus.”
- The concluding “Communion”
was noteworthy for its florid passages in the chorus, perpetual
motion patterns in the orchestra, and a dramatic and powerful
marcato finale on “because Thou art merciful.”
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