Name: Requiem
Start: 2022-09-14T00:00:00.000Z
End: 2022-09-14T00:00:00.000Z
Location: Concert Hall of the Mariinsky Theater

Organization

Singer

Soprano

Olga Trifonova

Contralto

Nadezhda Serdjuk

Alto

Tenor

Sergei Semishkur

Bass

Gennady Bezzubenkov

Mariinsky Theatre

Requiem

Saint Petersburg

Russia

Concert Hall of the Mariinsky Theater

Public

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Chefdirigent Musiktheater

Choir

Choreographer

Chorus Director

Chorus master

Composer

Conductor

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Baritone

Countertenor

Bass-baritone

Mezzo-soprano

Child vocalist

Continuo

Silent

Spoken

There is perhaps no piece of music that is surrounded with as many legends and mysteries as Mozart's Requiem.
A man dressed in black
Bowed respectfully, commissioned a
Requiem from me, then disappeared.
And subsequently:
My man in black gives me no peace
Day and night.

The mysterious story of the man in black and the Requiem formed the basis for Pushkin's short tragedy Mozart and Salieri, written in 1830. The same theme was also the central feature in Milos Forman's sensational film Amadeus a century and a half later. The mystique of the legend was largely instrumental in the film's success, as it was in the popularity of the great composer's unfinished work (it was completed by Sussmayr from Mozart's sketches), though the true circumstances of the commission became clear quite soon afterwards.
The mysterious stranger, presented in Pushkin's work as "a vision of the grave", was no more than the servant of Count Walsegg, a great lover of music who played several instruments reasonably well. The count was not content with his fame as a performer – he particularly wished to gain renown also as a composer, but did not have the requisite ability. However, his ingenious inventiveness helped him to overcome this "insignificant" difficulty. He anonymously commissioned works from leading composers for large sums of money, then passed them off as his own. The "creative" idea of the Requiem came to him on the occasion of the anniversary of his wife's death.
Contrary to the legendary version, Mozart was in no hurry to start work on the commission. After agreeing to take it because of his acute need of money, he put it off in the hope of earning money from a composition by himself, not from somebody else, and only seriously started work on the Requiem when he was confined to bed by his fatal illness. This illness became the cause of rumours about Mozart's violent death, and played a cruel joke on the outstanding opera composer and teacher Antonio Salieri, who has gone down in history only as the poisoner of his brilliant rival. In fact, it is hardly likely that Salieri was responsible for Mozart's death, though it is certainly true that they had fallen out.
The Requiem, written for soloists, choir and orchestra, is a setting of the traditional Latin text and develops the traditions of the oratorios of Bach and Handel, whose scores Mozart studied attentively. The composer's operatic experience can be felt in the solo, choral and orchestral passages. Its brilliant expressiveness has guaranteed the success of the Requiem on the concert platform, and Mozart's interpretation of the movements has become a yardstick that continues to have an influence on composers to this day (Slonimsky's Requiem).
Nadezhda Kulygina

English

Requiem by Mozart, Frá (2022/2022), Concert Hall of the Mariinsky Theater, Saint Petersburg, Russia

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