Sir Colin Davis, London Symphony Orchestra and Chorus - Berlioz: Requiem Op. 5, "Grande Messe des Morts" (2008) [SACD]

A wonderful reissue from Pentatone that deserves the widest circulation.
Compared to Berlioz: Requiem – Norrington, the approach of Davis here is very much smoother and rounded; probing the depths rather than revealing the notes with astonishing clarity. Both approaches have their gains and losses and it is mood of the moment that dictates my preference in most aspects.
As far as the performance goes, the LSO play like gods and reaffirm their reputation as one of the finest (modern-style) Berlioz orchestras of the recording era; a great deal of credit has to be given to Davis for the fine training he has provided this orchestra for several decades, showcasing the effects in the relative infancy of their relationship. The choral singing, in particular that of the Wandsworth School Boys’ Choir, is good but at the most taxing moments, they cannot quite match the professional singers of Norrington’s set; one must also be prepared to accept that the amount of vibrato that singers employed in the 1960’s is far greater than what is usual today – even if one rules out the fairly extreme approach of Norrington. Nor perhaps does Ronald Dowd acquit himself as well as Norrington’s Toby Spence but these are minor quibbles in such a fine overall conception and performance.
This is a true classic of the recording world and it is our gain that we can finally get to hear it as the Philips engineering team (and presumably Davis et al) wished. The clarity achieved in Westminster Cathedral is remarkable and one is continually surprised by the details that sear through the textures in a seemingly natural way; a bonus is the clarity the larger performing space gives to the lower end of the tonal spectrum. Perhaps from a multi-channel perspective there is one disappointing aspect – the spaced extra brass/wind players. Whilst they are very clearly delineated in the fine sound, it is a shame that Davis or the original engineers were so conservative in their positioning of these groups – a sensational aspect of the Norrington performance is the way these players blaze out from all sides which is quite lost here. There is also a fairly high degree of tape noise in quieter moments but nothing too intrusive and the ears quickly adjust.
So which to buy? In stereo, it’s purely down to performance preference – either Davis or Norrington will provide a highly satisfying and exciting rendition but in different ways. For those who enjoy multi-channel, Berlioz: Requiem – Norrington cannot be ignored, even if one has strong stylistic preferences for Davis.
Strongly recommended.