Boston Classical Review

Benjamin Zander conducted the Boston Philharmonic Orchestra and Chorus pro Musica in Verdi’s Requiem Sunday at Symphony Hall. Photo: Paul Mardy

Verdi was an opera composer at his core and his Messa da Requiem exemplifies what happens when theatrical sensibilities meet a sacred text. In some ways, his dramatic style can feel distracting from the deeply religious words, evident in the near absence of church performances of the piece. And yet this operatic writing, in effect, grounds themes of death and judgment in a vividly human experience. 

On Sunday afternoon at Symphony Hall, Benjamin Zander and the Boston Philharmonic Orchestra demonstrated that what this work needs most is a deeply personal, emotive delivery. The performance gathered a huge orchestra, the substantive voices of Chorus pro Musica (prepared by Jamie Kirsch and coached by Donald Palumbo), and four spectacular soloists.

The opening Introitus set the scene with mysterious, inward whispers in both the orchestra and chorus. The demanding interval of the opening fifths in this movement were not aligned in the chorus yet, and the transition to the Kyrie eleison lacked cohesion among the large forces. That section itself, though, effectively showcased the four distinct colors of the soloists: the luscious, golden tone of soprano Ailyn Pérez; the smoky warmth of mezzo-soprano Daniela Mack; the innocent-sounding radiance of tenor John Osborn; and the steely resolve of bass Maharram Huseynov.

The iconic Dies irae was done justice even from the first note, its rhythmic integrity intact and thrilling brass blares coupled with floods of orchestral and choral sound. This movement allowed discovery of each of the soloists’ quirks and their dynamic with others. 

Huseynov’s “Mors stupebit et natura” carried a distinct gravitas, reminiscent of Mozart’s Commendatore in the face of fate. Mack displayed dazzling richness in “Liber scriptus.” The trio after the Dies irae recap held together kaleidoscopically, Pérez showcasing her formidable mezza voce by its close. “Rex tremendae,” though rushed between larger phrases, ultimately delivered the necessary majesty.

Perez and Mack’s duet in the Recordare melded effectively not only because of their different timbres but because of their shared sense of shaping and heft of sound. The Ingemisco offered Osborn’s naturally bright color, enhancing imagery of hope and earnestness, his deliberate “prayers” breathing life into every word and phrase. His expressive depth was matched by the sparkling upper register of the strings and a sweeping oboe solo.

The Confutatis unfolded with sustained tone and well-explored harmonic shifts, though Huseynov’s downward leaps were often buried by the orchestra. The Lacrymosa reflected the tight ensemble of the solo quartet once again, especially in the exposed a cappella section. In the Hostias of the Offertory, Osborn channeled yet another character—this time gentle and sweet in offering.

A stark contrast, the Sanctus burst forth with highlighted polyphony and a quasi-Classical approach to phrasing. The Agnus Dei yielded mixed results, where the octave-spaced soprano and alto lines achieved perfect togetherness. Chorus and orchestra remained intimately connected, though transitions from solo to tutti flowed only sparingly. Mack showcased the smoky intensity of her lower register at the end, saving it for the text of eternal rest.

The opening of the Communion refreshed Mack’s energy with writing better suited to her register. Contrasts between the bright and dark colors of the soloists’ timbres proved intriguing; deliberate shifts provided welcome variety. Articulation varied widely, and the interplay among the soloists lent momentum through their overlapping leaps.

The Libera me, with its full narrative arc, could easily stand as a piece in its own right, and this performance proved why. Pérez jolted the audience with a full-voiced “chant” opening, in heavy contrast to the preceding pianissimo in the final chorus note. The chorus mirrored the senza misura opening with chilling unity, their text inflection and pitch centers clearly defined. The earthy tone of the bassoons grounded the movement in its present dread.

One of the most operatic and heartbreaking moments, “Tremens factus sum ego,” was an absolute gift. Singing with striking commitment Pérez boldly took risks in climaxes of heightened emotion. She possesses not only a gorgeous voice but the spirit and personality of a consummate storyteller.

The chorus clearly recognized these special moments, convening in a gorgeous “Requiem aeternam dona eis.” The fugue that followed was well balanced in every entrance, and the piece ended after the episode its polyphonic complexity in an unexpectedly unpretentious way. Even amid the tumultuous uncertainty of our troubling times, this performance guided us toward looking forward in such moments and beyond.

The Boston Philharmonic Orchestra performs Bruckner’s Symphony No. 7 and Mozart’s Piano Concerto No. 20 with soloist Kristian Bezuidenhout 8 p.m. February 13, 2026 at Symphony Hall. bostonphil.org

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