Composer: Gabriel Fauré
Works: Requiem, Pelléas et Mélisande (Incidental Music, Op. 80), Masques et Bergamasques (Op. 112)
Performers: Suzanne Danco (soprano), Gérard Souzay (baritone), L’Union Chorale de la Tour de Peilz, L’Orchestre de la Suisse Romande/Ernest Ansermet
Recording: Recorded circa 1960 ADD
Label: Eloquence Decca 450 131-2 [67.05]
Fauré’s Requiem, composed between 1887 and 1890, stands as an emblem of his unique aesthetic, merging the sacred with the serene and eschewing the dramatic for an ethereal calm. This recording, featuring the Orchestre de la Suisse Romande under the baton of Ernest Ansermet, presents a compelling yet ultimately flawed interpretation. It is set against the backdrop of Fauré’s broader oeuvre, where the composer’s intent was to create a work of solace rather than terror, a sentiment that resonates profoundly in the Requiem but is at odds with Ansermet’s occasionally grandiose reading.
The performance itself is a study in contrasts. Ansermet’s approach to the Requiem has often been described as quasi-operatic, which can detract from the intimate essence that Fauré intended. The opening “Introit et Kyrie” suffers from an excessively slow tempo that feels ponderous rather than reflective. This choice may be rooted in Ansermet’s desire to emphasize the spiritual weight of the music; however, it results in a choral performance that lacks the necessary fluidity and coherence. The violas present a sour tuning issue that disrupts the harmonic foundation, while the choir’s balance is compromised by overpowering tenor voices, leading to an unflattering sound blend.
The solo contributions of Danco and Souzay present a mixed picture. Danco’s soprano, while capable of sensitivity, is marred by a vibrato that veers towards the operatic, particularly in her “Pie Jesu,” which feels more suited to a grand stage than the intimate spaces that Fauré envisioned. Souzay, on the other hand, brings a subtlety to his roles that stands out amid the otherwise heavy-handed orchestral and choral forces. His contributions in the “Offertorium” resonate with the poignancy that Fauré’s music demands, offering a glimpse into what this performance could have achieved with a more cohesive interpretative vision.
Acoustically, this recording benefits from vintage Decca’s hallmark warmth, allowing orchestral details to emerge in an inviting acoustic space. The orchestral works included—specifically the incidental music from Pelléas et Mélisande and Masques et Bergamasques—shine under Ansermet’s direction. The Suisse Romande orchestra, often inconsistent, manages to deliver elegant phrasing and judiciously paced tempi, particularly in the delightful Sicilienne, where the flautist’s unforced tone exemplifies Fauré’s lyrical charm.
Comparatively, there are numerous renditions of the Requiem that provide a more convincing interpretation of Fauré’s vision. Andrew Davis’s recording with Lucia Popp and Sigmund Nimsgern offers a well-drilled account that aligns closely with the work’s intentions, while John Rutter’s version on Collegium captures the smaller-scale, personal approach that Fauré so desired. Jeremy Summerly’s Oxford Camerata account on Naxos also presents an interpretation that prioritizes clarity and emotional depth, making it a strong alternative.
This Eloquence re-issue, priced modestly, serves as a reminder of the historical significance of Fauré’s Requiem and the beauty of his orchestral works. However, it ultimately presents a Requiem that may appeal primarily to aficionados of Ansermet’s distinct style, which, while occasionally illuminating, does not fully honor the delicate balance of intimacy and spirituality inherent in Fauré’s masterpiece. The orchestral works, on the other hand, stand as a worthy testament to Fauré’s melodic brilliance and the interpretative strengths of this ensemble.
