ClassicsOnline Home » LANCINO, T.: Requiem (Grant-Murphy, Gubisch, Skelton, Courjal, Radio France Choir, Radio France Philharmonic Orchestra, Inbal) > Review List



LANCINO, T.: Requiem (Grant-Murphy, Gubisch, Skelton, Courjal, Radio France Choir, Radio France Philharmonic Orchestra, Inbal)

Composer(s):Lancino, Thierry
Artist(s)
Genre Classical Music
Category Choral - Sacred
Catalogue 8.572771
Label Naxos
Quality   320kbps
 
 
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8.572771
 


Thierry Lancino’s vast Requiem is a challenging and eloquent contemplation on human mortality which the composer describes as ‘both an epic fresco and sacred ceremony’. In a paradox which brings the Christian into dialogue with the Pagan, Lancino presents an exploration of Death and Time which is both human and relevant, as well as posing eternal and unanswerable questions. This recording captures a unique and moving event, performed by a stellar cast of artists and France’s leading choir and orchestra.


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Review By Mark Pulliger,International Record Review,February 2012

S’écarter de la liturgie de la Messe de Requiem n’est pas chose nouvelle. Brahms regroupa sa propre collection de textes bibliques et les mit en musique en Allemand plutôt qu’en Latin dans son Requiem Allemand. Près d’un siècle plus tard, commandé pour la re-consécration de la Cathédrale de Coventry, le War Requiem de Britten fait se juxtaposer les textes traditionnels latins et la poésie inspirée de la guerre, de Wilfred Owen. À son tour le compositeur franco-américain, Thierry Lancino, propose sa version du Requiem en mêlant le texte traditionnel avec ce qui est - de fait - un dialogue entre le David biblique et la Sibyl de Cumes. Il prend son inspiration dans

Le livret comprend des passages narratifs confiés à David et à la Sibylle en Français et en Grec ancien, tandis que les chœurs chantent en Latin traditionnel, ainsi qu’en Grec lorsqu’ils commentent les évènements (et c’est assez bien venu). Deux chanteurs représentent David ; un ténor, celui qui attend la vie éternelle, et une basse, David le guerrier. En addition, une soprano solo représente "tout un chacun".

Dès le martellement de 13 coups initiaux, les glissés des contrebasses et les accords des vents qui convoquent la Sibylle, la musique de Lancino est d’une qualité saisissante. Son écriture pour chœur, par sa mise en musique du texte Latin traditionnel, réussit à atteindre une nature contemplative, tout particulièrement lorsqu’elle est sans accompagnement. Mais il est à son meilleur de lui-même – le plus provocateur et le plus intéressant -  dans les passage solo de la Sibylle, une incarnation dramatique, souvent hystérique, réalisée de manière vivide par la mezzo-soprano Française Nora Gubisch, quoique parfois la tessiture soit si grave que le rôle aurait pu être tenu par une contralto. Dans sa déclamation introductive, puis plus loin dans "Le Chant de la Sibylle", les dissonances m’ont fait penser à des passages du Minotaure, l’opéra de Birtwistle, par ses qualités théâtrales et sa dimension mythique. Ayant refusé les avances d'Apollon après que le dieu lui ait donné une vie d’autant d’années que de grains de more....

Review By Michel Jakubowicz,ON Magazine (France),November 2011

Only few composers of today dare braving this grand form of sacred music which is the Requiem. Yet, it is without any complexes that Thierry Lancino tackles a genre in which Gilles, Mozart, Berlioz, Brahms, Verdi and many other famous composers who preceded him.

Ambitious in his aim, Thierry Lancino’s Requiem, based on a libretto by Pascal Quignard, proposes no less than exploring the immense unknown territories of Death and Time. Opening with a sound that has clear similarities with a mournful tocsin (Prologue), the work includes in its fold two quite extraordinary characters : on one hand the Sibyl, on the other David the warrior who leads us to the devastating Dies Irae, and closes with the Dona eis requiem.

more....


Review By Michel Jakubowicz,ON Magazine (France),November 2011

Only few composers of today dare braving this grand form of sacred music which is the Requiem. Yet, it is without any complexes that Thierry Lancino tackles a genre in which Gilles, Mozart, Berlioz, Brahms, Verdi and many other famous composers who preceded him.

Ambitious in his aim, Thierry Lancino’s Requiem, based on a libretto by Pascal Quignard, proposes no less than exploring the immense unknown territories of Death and Time. Opening with a sound that has clear similarities with a mournful tocsin (Prologue), the work includes in its fold two quite extraordinary characters : on one hand the Sibyl, on the other David the warrior who leads us to the devastating Dies Irae, and closes with the Dona eis requiem.

more....


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