Composer: Gabriel Fauré
Works: Requiem, Pelléas et Mélisande, Masques et Bergamasques
Performers: Suzanne Danco, soprano; Gérard Souzay, baritone; L’Union Chorale de la Tour de Peilz; L’Orchestre de la Suisse Romande
Recording: 1960–61
Label: DECCA ELOQUENCE 450 131-2 [67’05]
Gabriel Fauré’s Requiem stands as a delicate counterpoint to the more dramatic settings of eternal rest by his contemporaries, offering an ethereal vision of peace rather than the terror of judgment. Composed between 1887 and 1890, the work reflects Fauré’s deeply personal encounter with death and solace, emphasizing serenity over sorrow. This Decca Eloquence recording, conducted by Ernest Ansermet, captures not only the Requiem but also two orchestral works—Pelléas et Mélisande and Masques et Bergamasques—providing a broader context for Fauré’s orchestral idiom.
Ansermet, a renowned conductor with a keen affinity for French repertoire, here faces a formidable challenge. The Requiem, in particular, suffers from sluggish tempi that sap its inherent fluidity and grace. The opening Introit and Kyrie unfolds with a ponderous heaviness, lacking the lightness of touch that could evoke the ethereal qualities Fauré intended. The tenors, unfortunately, present a disjointed sound, characterized by an undisciplined blend that undermines the choral texture. Their hoarse tones and raucous delivery detract from the balance and clarity expected in such a sacred work, rendering the performance dispiriting from the outset.
The Offertoire continues this trend of unevenness; the sopranos exhibit an oscillatory vibrato that detracts from the purity of expression. While Suzanne Danco’s contributions are undeniably poignant, her operatic approach—marked by a grandiosity in the Pie Jesu—feels misaligned with Fauré’s subtleties. Danco’s artistry shines, yet her interpretation risks overwhelming the delicate fabric of the music with a matronly resonance that lacks the ethereal quality required in this context. Gérard Souzay emerges as a beacon of sensitivity amidst this performance’s shortcomings. His interpretations resonate with a nuanced understanding of Fauré’s idiom, marked by flexibility and a lyrical grace that beautifully conveys the text’s emotional depth.
The orchestral segments, particularly Pelléas et Mélisande and Masques et Bergamasques, reveal Ansermet’s strengths more clearly. The strings exhibit a pliancy and warmth that complement Fauré’s lush harmonies, and the woodwinds add a verdant character that is both inviting and refined. The joyful Masques et Bergamasques suite is executed with an elegance that serves as a reminder of the conductor’s capabilities, showcasing a judicious sense of balance and a well-judged orchestral palette. Here, Ansermet’s interpretative flair is evident, contrasting sharply with the problematic execution of the Requiem.
The sound quality of this recording, typical of its era, presents a mixed bag. While the orchestral works benefit from clear delineation and a rich acoustic presence, the choral elements can sometimes feel obscured, leading to a lack of transparency that is critical for a work steeped in harmonic subtleties. The engineering choices do not serve the choral forces well, resulting in a performance that feels unevenly balanced.
The overall assessment of this recording must acknowledge the stark disparities between the orchestral brilliance and the Requiem’s lackluster execution. Despite the compelling presence of Souzay and some luminous moments in the orchestral works, the performance of the Requiem is fraught with inconsistencies that render it difficult to recommend. This recording serves more as a historical artifact than a definitive interpretation of Fauré’s intentions, leaving one longing for a more cohesive and inspired realization of such a poignant masterpiece.
