Thanks for both of your replies.
I have to confess a slight pang of guilt after posting my original request - I seem to have asked for an awful lot! As I look on my shelves the number of Verdi Requiems which you would count as mono/historical that I have owned (some now long discarded) include three Karajans (1949/58/62), three Giulinis, four Toscaninis, two Sabatas (Schwarzkopf/EMI & Tebaldi/Decca), two Fricsays and two Markevitchs, as well as 1929 Sabajno and 1939 Serafin - that's eighteen ! Your survey mentioned a further Fricsay as well as another couple of Sabatas, so I'm intrigued and look forward to learning which ones make up the numbers - could they include the lone Corelli version, live in LA with Mehta in 1967, or Wunderlich in Stuttgart 1960 ? Maybe they are both in stereo anyway, so disqualified!
For one of the best things about your October survey were reading about the recordings I wasn't aware of. As you correctly foretold, I didn't indeed know of the Plasson from EMI in 1991, nor of the Lombard either, where I was also happy to see the presence of Joyce Barker. I had only previously encountered her once before on an astonishing Turandot highlights disc from (of all places) Cape Town in 1965, which was brought to my attention by a good friend of mine (who is also a professionally trained singer) who absolutely raved about it; I wasn't disappointed either. So I'm looking forward to seeing the final line-up of suspects for the next survey !
Having written and debated about the Verdi Requiem in the blog "Haydnesque" quite extensively over the years, it is always of tremendous interest to me to read other people's views as well. In particular, will you draw the same conclusions as I did when comparing the four Toscanini versions, or the two early live Karajans of 1958 and 1962 ?!
Likewise I also hope very much to learn your views on the super-unique Celibidache. Yes, the Lombard (which I have now heard) is also very slow - but it somehow stays within the performing tradition of the work, which Celi doesn't. And Giulini/BPO is also very slow and spiritual - but remains resolutely studio-bound (probably as a result) something you cannot accuse the Celibidache performance of being. However, I concede that the quartet in Munich may not quite be of the very first rank. Nor I fear is the quartet from Moscow in 1960, the same on both the live performance issued on ICA and the studio recording by Philips, which I mentioned above - Galina Vishnevskaya and Ivan Petrov are real strengths, but the mezzo and tenor are merely workmanlike. However, this recording showcases Markevitch's return to his homeland after a long period of exile, to perform a work which atheist USSR didn't exactly encourage - the fervour of the performance(s) is something to behold, a super-slow opening followed by the fastest Dies Irae I can remember ever hearing, a real gallop through the circles of hell ! But I will stop now, as it is your views I'm keen on learning !
So thanks and good luck with the assignment and apologies to all those who aren't quite as obsessed with this work as I am !
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