Berlioz: Requiem, Op. 5

Antonio Pappano, Chorus of the Accademia Nazionale di santa Cecilia, Ciro Visco, Concertgebouworkest, Javier Camarena

(2 customer reviews)
Original Recording Format: DXD
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Berlioz composed his Requiem at the request of a French government minister to commemorate the soldiers who died in the July Revolution in 1830. The Requiem would become one of Berlioz’s most popular works, among other things because of its imaginative instrumentation and gigantic orchestration, including four brass ensembles distributed throughout the hall. The work was also dear to the composer’s own heart. He once said, ‘If someone were to threaten to destroy all my works, I would beg for mercy on behalf of my Grande messe des morts.’

This awe-inspiring work is in good hands with conductor Antonio Pappano, whose refinement, energy, and drama, usually put to good use in the opera house, are exactly what the performance of this French mammoth calls for. The Chorus of the Accademia Nazionale di Santa Cecilia is supporting the Concertgebouworkest (Royal Concertgebouw Orchestra), and the solo tenor is singer Javier Camarena.

“A musical and sonic milestone; in short, a Requiem to die for.”
Dan Morgan, MusicWeb International ‘Recommended’

“Javier Camarena shines in the higher register. Heavenly.”
Merlijn Kerkhof, Volkskrant

“The Concertgebouworkest do justice to the magnificence of the music”
Peter van der Lint, Trouw

“A splendid performance with, as expected by Antonio Pappano, intense text interpretation”
Lucrèce Maeckelberg, Klassiek Centraal

Javier Camarena – Tenor
Chorus of the Accademia Nazionale di Santa Cecilia
Ciro Visco – Chorus Master
Concertgebouworkest (Royal Concertgebouw Orchestra)
Antonio Pappano – Conductor


Please note that the below previews are loaded as 44.1 kHz / 16 bit.
I. Requiem - Kyrie
II. Dies irae - Tuba mirum
III. Quid sum miser
IV. Rex tremendae
V. Quaerens me
VI. Lacrymosa
VII. Offertorium
VIII. Hostias
IX. Sanctus
X. Agnus Dei

Total time: 01:23:37

Additional information





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Analog to Digital Converter

Horus, Merging Technologies


Monitored on Grimm Audio and B&W Nautilus speakers


Neumann and Schoeps with Polyhymnia custom electronics



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Original Recording Format


Everett Porter

Recording Engineers

Everett Porter, Karel Bruggeman (Assistant Engineer)

Recording Location

Recorded Live at the Concertgebouw in Amsterdam on May 3 & 4, 2019

Recording Software

Pyramix, Merging Technologies

Release DateSeptember 10, 2021

Press reviews

Opera Today

Berlioz’s Requiem at the Concertgebouw – Earthshakingly Stupendous

It was high time the Royal Concertgebouw Orchestra programmed Hector Berlioz’s Grande Messe des morts. They hadn’t performed it since 1989, and what better year to take it up again than in 2019, the 150th anniversary of Berlioz’s death?

The second of two performances conducted by Sir Antonio Pappano took place on the 4th of May and also functioned as a Memorial Concert. The 4th of May is when the Dutch honor all wartime victims since the outbreak of the Second World War with remembrance ceremonies and concerts across the country.

A day before, at the first performance, the enormous fortissimos made the Concertgebouw floor quake. But Berlioz’s Mass for the Dead, with its huge choir and instrumental arsenal, does not just overwhelm with shock and awe. Its hushed, timorous moments provoke pity. Unexpected changes of temperament and color buffet listeners about, leaving them disoriented. For the Rex tremendae Berlioz prescribes sixteen timpani and four brass orchestras, strategically positioned to produce a quadrophonic effect. In terms of size and span, this is the ultimate spatial theatre. Yet the sense of boundless space also comes from choral phrases that rise softly from or are suddenly swallowed up by silence. In a gripping, theatrical performance, Sir Antonio Pappano brought out the work’s myriad spatial and dynamic facets in fine detail. The first bars of the Introitus—confident, expansive, and perceptively molded—heralded the character of his whole Requiem. The RCO don’t need a great conductor to play beautifully, but to hear them play in a thrillingly conceived account such as this one was an extraordinary experience.

For the world premiere in 1837 Berlioz envisioned 800 choristers and 465 musicians filling the huge church of the Invalides in Paris. Expense limitations cut that number to about half, and the published score calls for a 200-strong chorus. But the composer indicated that the number of singers and players should be tailored to the venue. The forces at the Concertgebouw were not as big as those set down in the score, but they were perfectly sufficient. There were around 120 choristers and the number of instruments in the brass bands, two flanking the onstage organ and two at the extreme ends of the balcony, had been halved. It was still enough to make the hall shake. No recording can approach hearing Berlioz’s Last Judgment fanfares live and so splendidly played. And his instrumental coloring, at times downright bizarre, makes perfect sense when rendered so exquisitely. Who but Berlioz could have conceived the improbable mix of male voices accompanied by flutes and trombones in the Hostias? The hopeful flutes reach towards heaven while the trombones drag them uncompromisingly down to earth. It’s a sobering device that he also employs in the Lacrimosa, when the choir basses and the bassoons counter the ethereal tenors with plummeting, despondent figures. The orchestra and choir could not have depicted this struggle between yearning and despair more perspicuously.

Besides being music director of the Royal Opera House, Sir Antonio Pappano is also at the helm of the Orchestra dell’ Accademia Nazionale di Santa Cecilia, and he brought their chorus with him for the occasion. It was up to their chorus master, Ciro Visco, to meld the Roman choir and the local Netherlands Radio Choir into an integrated ensemble, a task he fulfilled with triumphant success. The choir produced sumptuous, full-bodied harmonies, with defiantly percussive consonants in the ferocious Dies irae and Rex tremendae. The lyrical lines of the unaccompanied Quaerens me flowed like clear honey. Blanched, fearful murmurs receded into an almost tangible abyss, high voices shimmered in heaven-bound invocations. Berlioz may have been a hardened unbeliever, but anyone who heard the tenors’ beautiful entrance on “Te decet hymnus” in the Agnus dei, after the series of hesitant chords in the woodwinds, must have at least been tempted to have faith in something. Heightening the intensity of the evening, tenor Javier Camarena was a prayerful, expressive soloist in the Sanctus, with irreproachable legato and top notes with brilliant overtones. This stupendous performance was captured for transmission on the radio at a later date. Hopefully, the RCO will also produce a commercial recording.

2 reviews for Berlioz: Requiem, Op. 5

    When a composer writes for large sonic spaces by placing brass sections on the sides of the hall for an authentic Immersive Audio performance how can we not give the right focus to this new recording of Berlioz’s Requiem under the direction of Pappano? The orchestra is the sublime and authoritative one of the Concertgebouw in Amsterdam, the choir that of our National Academy of Santa Cecilia directed by Ciro Visco.

    I was particularly impressed by this new recording of Berlioz’s “Requiem”. A monumental work which, to be fully appreciated, needs not only a solid performer, but also an excellent recording. The technical framework is provided here by the home label of the Concertgebouw in Amsterdam. Which I have already heard several times in Native DSD in Stereo and Multichannel with Berlioz’s “Fantastica” and then again with Mahler’s Prima, Secondo and Quarta (with the directed of Daniele Gatti).

    Without going into technical details, in “Tuba Mirum” of the Dies Irae, a moment of true sonic apotheosis, the use of four additional brass groups playing in the corners of the room, strengthened by eight tympani performers, is foreseen. In addition to a large mixed choir and an orchestra of already modern dimensions, the recording paints a large sonic fresco that embodies the French author’s ideal for enjoying music in front of large audiences.

    This performance is scheduled for official release on October 1st, 2021. Downloads are available now from NativeDSD Music. The original recording format is DXD and I downloaded the 5.0 multichannel version in 24/352.8 DXD from Native DSD.

    This is my 4th copy of Berlioz: Requiem “Grande Messe des morts”. I was not disappointed adding this album to my collection. The overall performance is excellent, but it is the subtle nuances that are breathtaking. The chorus is a combination of the Chorus of the Accademia Nazionale di Santa Cecilia and the Netherlands Radio Choir. Chorus master, Ciro Visco, did a superb job melding these choirs. The best way I can describe their performance is the haunting even dark spiritual quality they add to many of the passages. Tenor Javier Camarena also performed magnificently. His voice beautifully communicated the Requiem’s heartfelt condolences.

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