From the Desk of Jim R, Take 2, Column 284, A Review: "Mozart's Requiem" (The Connecticut Virtuosi Chamber Orchestra)

 By James V. Ruocco

Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.
Te decet hymnus, Deus, in Sion,
  et tibi reddetur votum in Jerusalem.
 Exaudi orationem meam, 
ad te omnis care veniet.
Requiem aeternam dona eis,
 Domine,
et lux perpetua luceat eis.

Mozart's final masterpiece "Requiem" - unfinished at the time of his death and completed by composer Frank Xaver Sussmayr  through notes, drafts and orchestral fragments  - is an exceptional, evocative choral work shrouded in controversy - a fact that makes it even more fascinating and obsessively compassionate in the classical music repertoire.

At the time of his death - December 5, 1791 - only two parts - the Introitus and the Kyrie - were near completion by the composer. The other sections, including the Sanctus, the Benedictus and the Angus Dei are credited to Sussmayr through passages, words and orchestrations he claimed were entirely his own, but nonetheless, faithful to the style, the memory and the identity of Mozart himself.
Energetic, respectful and undoubtedly uplifting - "Requiem" - a death Mass of fate, beauty, optimism and irony - was originally conceived for concert performance utilizing several instruments (trombones, bassoons, basset horns, violins and timpani drums, etc.) and featured parts for soprano, contralto, tenor and bass soloists and a four-part chorus.
The interpretation, the approach and the execution, however, comes down to the actual presentation of the piece, its size, its energy and the thrust of its classical concert performance tone, rhythm and orchestral sound of the music, matched by the choice blending of chorally trained male and female voices sharply attuned to the Latin verse of "Requiem's" scripted translation.

At the Cathedral of St. Joseph in Hartford - a 20th century architectural achievement celebrating the traditions and practices of the Catholic faith - the vast, welcoming interior design of this refined house of worship lends itself nicely to the Connecticut Virtuosi Chamber Orchestra's concert performance of Mozart's celebrated "Requiem."  Staged right upon the spacious center altar in front of adrenaline-pumped conductor Adrian Sylveen, this one-hour concert was played out in grand cathedral fashion before an attentive, appreciative audience of classical music lovers, parishioners of the Cathedral of St. Joseph and more than fifty young seminarians from the Archdiocese of Hartford.

Strong.
Established.
Expressive.
Vivid.
Dramatic.
Smooth.

The performance also benefits greatly from the marvelous sound acoustics of the cathedral itself, which, throughout the evening, heightened both the orchestral playing and the rich tonal quality of the "Requiem" singers. 

Balanced, graceful and powerful under the deft tutelage of maestro Sylveen, "Requiem's" classical music work flow, as envisioned by both Mozart and Sussmayr, unobtrusively changed courses from section to section always acknowledging its Mass for the Dead conceit, its intentioned modesty, its tender vibes and expositions and its wondrous strokes of fierce energy and contemplations.
The notes, the combinations, the pauses and the emotional collisions are combined with confidence and care. The certainty of the passages, their creation, their cycles and their hymn-like pronouncements and revelations are operatic and centered. The defined, purposeful orchestral range of the Virtuosi Chamber Orchestra - a sonic, lyrical pastiche of bite, sheen, harmony and reinvention - heightens the mood, texture and ululation of the piece. There's a smooth sense of presence and dimensionality in Sylveen's orchestra, which adds immediate feel, drive and resonance to the proceedings. The complexity and the deliberate authority of the piece is also smartly communicated in celebratory fashion.

Working alongside the Virtuosi Chamber Orchestra's hand-picked, primed chorus of exceptional singers, soprano Louise Fauteux, alto Agnes Vojtko, tenor Oswaldo Iraheta and bass Steve Fredericks each brought their own command and voice to "Requiem" individually, together or backed by the vocal ensemble. The movements of the piece, which ranged from mourning and remembrance to judgement and damnation were delivered by the quartet with full assimilation, power and contrast, propelled by the orchestra's immediateness, expertly-timed sudden changes or mood and dynamic climactic exclamations. Throughout the evening, the voices of everyone involved blended seamlessly together with the right amount of grace, lyricism, freshness and intimacy.
The chorus, of course, has a crucial role in "Requiem," all of which is sung accordingly at the Cathedral with fleetness, engagement and clarity as dictated by Sylveen. His sheer sense of drama and vocal timbre enlivens the choral sound of the men and women involved, all of whom raise their voices high through song seriously communicating the important Latin passages and different sections of "Requiem" with creative aplomb.
Upon conclusion, a moment of silent ensues, thus prompting joyous applause at the concert's end for both chorus, soloist, conductor and orchestra. It is well-deserved conclusion for this meticulously-crafted work that has made all the right choices with a significance, proudness and ability that never once got lost (program in hand translating Latin to English) while magically turning darkness into sunlight.

"Mozart's "Requiem" was presented 7 p.m. Monday, November 1, 2021 at the Cathedral of St. Joseph (140 Farmington Avenue, Hartford, CT).

For information about upcoming concerts and productions, check out the Connecticut Virtuosi Orchestra website at thevirtuosi.org