Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor’s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.It used to be a rite of passage that young conductors started their careers in the UK, only to move off elsewhere once they had made their names. Claudio Abbado, Daniel Barenboim and Riccardo Muti all cut their teeth in London in the 1970s.Muti’s decade-long tenure as principal conductor of the Philharmonia (1972-82) lifted the orchestra out of the doldrums, giving it new artistic impulse and a sense of security that assured its continued existence. That was a golden period, and his name on the Philharmonia’s masthead remains a source of pride.Four decades on, Muti remains a very occasional visitor. His last concert with the orchestra was in 2010, though a planned rematch in 2020 fell victim to the pandemic. Verdi’s Requiem has been a regular highlight, including grandly at Westminster Cathedral in 2007, and that was his choice again for this homecoming.Ever since its premiere, the Requiem has been subject to accusations that it is like an opera in disguise, albeit one in religious clothing. But it did not seem like that here: Muti the young firebrand of the early Philharmonia days (listen back to his 1979 recording with the orchestra) has given way to the grand maestro of slower speeds and expansive lyricism we hear today.At its best, the performance uncovered new details, as in the eruptions below the surface of the “Tremens factus”. At other times, the energy seeped away, leaving the performers becalmed, notably when the Philharmonia Chorus, courageously bold elsewhere, temporarily lost its footing as the “Sanctus” slowed. The “Tuba mirum” was less a hell-raising summons than an invitation of imposing regal majesty to be declined with circumspection.Two outstanding voices were at the centre of the solo quartet. Mezzo-soprano Elīna Garanča has voice to spare in this music, not only in size but also in range at the top and bottom, and in depth of colour. Tenor Piotr Beczała sang with ringing tone, a sure sense of style and tenderness when required. Both are in their prime and spun long phrases without taking breaths, possibly at Muti’s behest, and bravely so given some of his leisurely speeds.It was unlucky that soprano Marie Lys found herself in this heavyweight quartet. Mostly acclaimed to date in early music, her light voice might have shone more brightly in other company, though she certainly gave her all (Muti was sometimes conducting her note by note). When the advertised bass cancelled, young William Thomas stepped in, justifying his place in the line-up through quality of voice, at least so long as anxiety was held at bay.There have been many performances of Verdi’s Requiem that had more drive, more drama, more passion than this one, including a few from Muti himself, but as the closing bars died away in a spirit of deep contemplation, those shortcomings felt largely assuaged.★★★☆☆southbankcentre.co.uk
