Verdi's Requiem in LA

It was a wonderful night for Verdi at Disney Hall. I'm proud to report that all four soloists were excellent. Leah Crocetto was clearly the stand out of the quartet, however. Despite an under-powered high note in the Libera Me, she was in full command vocally and dramatically of her part. What an exquisite voice . A true Verdi soprano! Lomelli was quite good, but had a very rough start to the Ingemisco. It sounded like he started about a full step low. Once more instruments came in , he quickly righted the ship. Excellent squillo through the passagio, but a slightly covered top that (from where I was sitting) lost a little ring. A wonderful talent nonetheless. His tambour immediately brought to mind Ramon Vargas. Visually, however, he looked very uncomfortable and unexpressive. Relyea was excellent as always, and totally committed. All four sounded slightly underpowered at the bottom of their ranges. Perhaps this was due to being seated in the orchestra, back several feet from the front of the stage.

Chorus was truly excellent. Precise, impassioned, raw and subtle when necessary. A truly outstanding job. Orchestra was also excellent. Some wonderful woodwind solos, and0a wonderful solo by the concertmaster. We were seated in the last row of the top balcony, and the antiphonal trumpets were placed right behind us. An awesome and inspiring touch. In the exposed and quiet parts, there were several unsure entrances by the winds. Perhaps this is due to the newness of Gustavo, but I imagine it will be something that will improve.

The one blemish on the evening thankfully happened at the beginning. A measure prior to the violin entrance, someone's obnoxious cell phone went on. Gustavo promptly stopped the performance and the offender was loudly hissed. The performance resumed a few seconds later da capo.

As far as "The Dude," he refused to take a solo bow, and with clear reason. The star of the show was Verdi, no question about it. From the times I've heard him conduct so far, it can be a bit frustrating that he doesn't put a "stamp" on a piece that he conducts. It just is, in that moment in time, a faithful reading of a masterpiece. Perhaps, over the past several decades, with conductors who create such a distinctive sound and distinguishable reading of a certain score, saying that Gustavo doesn't "stamp" a piece, may be the highest praise of all.