As an opera conductor, I have spent many years immersed in Verdi’s music, but the Requiem truly stands apart as one of his most memorable masterpieces. There is a common misconception that the work should be approached operatically simply because Verdi was the great master of Italian opera. It certainly contains theatrical elements and moments of high drama, but it is all too easy to focus on the volcanic qualities and overlook the tenderness embedded in the Latin text.

Even though Verdi himself was an atheist, he deeply appreciated the Italian sacred music tradition and the solemnity of the text. You can hear, particularly in the a cappella choral writing, how closely he had studied Renaissance composers such as Gesualdo. Elsewhere, he treats the text with great dignity, shaping it through his own distinctive musical language and genius.

To bring this monumental work to life, you need not only a great orchestra but also a powerful chorus and soloists with the necessary stamina to convey its full gravity. In Asmik Grigorian, for example, you have a soprano who brings extraordinary stage presence and emotional depth to her performances.

It is also a great joy to be returning to Carnegie Hall with The Cleveland Orchestra Chorus after such warm receptions in 2018 and 2023. The dedication, enthusiasm, and professionalism of our all-volunteer chorus are remarkable, and under the direction of Lisa Wong, it has grown into something truly extraordinary.

More than two decades have passed since I last led Verdi’s Requiem with the orchestra in 2004, and revisiting this monumental work with this ensemble after so many years feels deeply special. Sharing it with you tonight makes it all the more meaningful.

—Franz Welser-Möst