Philadelphia Singers

classical

Before the true greatness of Berlioz’s Requiem was recognized, around the middle of the 20th century, the composer, and particularly this work, were dismissed as hysterical, out of control, formless, an example of romantic excess and, of course, French. There are four brass bands, located antiphonally around the hall, and huge numbers of timpanists are ranged across the back of the stage for the immense sonorities of the Tuba Mirum section of the Dies Irae. Though Lully and Mozart had dramatized the Roman Catholic text of the terrors of death before Berlioz, his treatment became the standard for the Verdi, the Dvorak and even the Britten War Requiem, among others. Yet Berlioz uses his forces most subtly. To be sure, the Dies Irae is just overwhelming. But the Lacrymosa, with its contrapuntal, loping rhythms, is even more compelling. The magic of Berlioz’s orchestration is evident in the Hostias, where the combination of flutes and trombones set against the male chorus creates a truly supernatural atmosphere. After a performance at Carnegie Hall, David Hayes brings this stupendous work to Verizon Hall with his Philadelphia Singers chorale, the Rutgers University Glee Club and the Mannes Orchestra.

Sun., Nov. 16, 8 p.m., $27-$57, Kimmel Center, 260 S. Broad St., 215-893-1999.

—Lou Camp

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