Another wonder unfolds during Verdi’s Requiem

If there is a work in the classical repertoire that is deeply ingrained in my musical DNA it’s Verdi’s Requiem.

It’s a work of almost theatrical dimensions, bursting with melody, harmony, sensational arias and close-knit harmonies that never fails to set the pulses racing. It would be perfect for the Caird Hall, but the Royal Scottish National Orchestra seem reluctant to bring huge choral works to Dundee. So, Friday night’s destination was Edinburgh’s Usher Hall.

Every time I hear it, another wonder unfolds and on this occasion it was mezzo Elizabeth DeShong. I don’t think I’ve heard such a dynamic example of the middle voice. It soared above the orchestra tuttis and gave the Liber Scriptus, which is one of my golden moments, added gravitas.

The three remaining soloists, Evelina Dobraceva, Edgaras Montvidas and Hanno Muller-Brachmann, needed to be at their best to get anywhere near her standard of performance, and thankfully they were up to the task.

The RSNO chorus might not have the numbers of 20 years ago but they certainly have the quality. The opening almost whispered chorus was simple perfection, blossoming into a Te Decet Hymnus that showed their skill in unaccompanied singing.

Equally good was the final Requiem section, and if there was a lapse of timing between them and Dobraceva, the fugal Libera Me more than made up for it.

As for the orchestra and conductor Carlos Miguel Prieto? From the cello/bass subdued opening to an identical ending, via the explosive all-action Dies Irea and tender support to the soloists, it really was a team effort, mixed with snatches of superb solo work.

Ninety minutes of the very, very best from all concerned.