Marie Perbost . Mathilde Ortscheidt . Bastien Rimondi . Edwin Fardini . José-Antonio Salar-Verdú
Chœur de l'Opéra Royal
Orchestre de l’Opéra Royal
Théotime Langlois de Swarte Conductor
An unfinished masterpiece, a musical testament, a timeless sacred composition that transcends the religious context – there is no shortage of superlatives to describe Mozart’s Requiem. When he died on 5 December 1791, the composer had finished the Introït and the Kyrie and established a large proportion of the content for the following five numbers, from the Dies Irae to the Confutatis.
This work has since given rise to countless theories, a host of unfinished pages and some splendid interpretations above all; it compels both audience and performers, reaching us almost intact in the form left behind by Mozart. As if these last notes, from the dying composer’s still-raised pen, were all the more precious.
Productions of the Royal Opera.
The concert on November 23th 2024 was recorded by Futur Antérieur Production.
Marie Perbost . Mathilde Ortscheidt . Bastien Rimondi . Edwin Fardini . José-Antonio Salar-Verdú
Chœur de l'Opéra Royal
Orchestre de l’Opéra Royal
Théotime Langlois de Swarte Conductor
An unfinished masterpiece, a musical testament, a timeless sacred composition that transcends the religious context – there is no shortage of superlatives to describe Mozart’s Requiem. When he died on 5 December 1791, the composer had finished the Introït and the Kyrie and established a large proportion of the content for the following five numbers, from the Dies Irae to the Confutatis.
This work has since given rise to countless theories, a host of unfinished pages and some splendid interpretations above all; it compels both audience and performers, reaching us almost intact in the form left behind by Mozart. As if these last notes, from the dying composer’s still-raised pen, were all the more precious.
Productions of the Royal Opera.
The concert on November 23th 2024 was recorded by Futur Antérieur Production.