Stephen has of course correctly identified the music but I would just point out the following: the movie clip is from a more "traditional" recording with big forces and a slower tempo than the example he provides, which is amore "historically informed" performance - i.e. a smaller band and chorus, faster tempo, phrases more "clipped", little or no vibrato - conducted by Philippe Herreweghe. The film - which unforgivably cuts the flow of the music and splices it jarringly at 28 seconds in - uses a weightier recording. It's not Richter 1979 on Archive, or Karajan 1972 on DG, nor Gönnenwein 1968 on EMI but if you want something similar in in grandeur, practice and affect to the film clip, they are much closer than that of the YouTube clip Stephen provides (which obviously he posted just for guidance). In fact, I'm fairly sure the film uses Solti's 1988 recording on the Decca label with the Chicago Symphony Orchestra and Kiri Te Kanawa heading the cast performed in a much more "operatic" style than Herreweghe - so that's the one you should buy if you want the same sound as in the film.