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So familiar now as to pass almost unquestioned, Mozart’s Requiem still attracts revisionist approaches. Equilbey strips it of much of the terror and existential dread some purport to hear there and turns it instead into a work in which death and judgement are majestic rather than frightening, and in which life – always implicit in the Christian perspective on mortality – is not interrupted but merely redirected. It’s rare to hear a Requiem so bracingly and affirmatively sung. Recorded at Versailles, it borrows a certain high manner from the surroundings, too.

BRIAN MORTON Read the full review on Agora Classica


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