This album, named by the BBC as one of the 50 greatest recordings of all time, was made in 1962 shortly after the premiere of
Benjamin Britten
's searing
War Requiem
, written for the reconsecration of Coventry Cathedral after it was destroyed during the Blitz of World War II.
Britten
was the conductor. Surely, it is not always true that composers make the best interpreters of their own works, but this one, at the very least, reflects what
had in mind. The ailing
was unable to serve as chief conductor at the work's live premiere, and soprano
Galina Vishnevskaya
was refused permission by the Soviet government to travel to England for the performance. However, for the recording, both those problems were solved.
wrote the work specifically with
Vishnevskaya
, baritone
Dietrich Fischer-Dieskau
, and tenor
Peter Pears
in mind, and the contrasts he draws between them are vivid indeed. Sample
's haunting sound in the "Liber scriptus" from the Dies irae. Notwithstanding the occasional Russian accent, she is marvelous throughout. Moreover,
proves an adept handler of the varied forces of the work, matching the varied texts that mix the Latin requiem mass with contemporary English-language poetry by
Wilfred Owen
on the theme of war. The full forces are soprano, tenor, and baritone soloists, adult chorus, boys' choir, organ, a full orchestra, and a chamber orchestra, and
keeps these all well in hand. The 1962 sound is quite good, and another draw is the set of tapes from rehearsals made during the preparation of the album; these are included with Decca's 2013 rerelease of the album. They give valuable insights into what
intended. A marvelous classic; anyone who hasn't heard it should rectify that situation. ~ James Manheim