Thursday, April 2, 2026
Concert Hall, Helsinki Music Centre, Mannerheimintie 13 A, 00100 Helsinki, Finland
Berlioz through and through, the Requiem speaks his name in musical expression and in the hundredweight of instruments called for, not least four brass bands placed one in each corner of the room – effectively North, South, West, East – and a multitude of timpani (several players) and cymbals, spectacular in the ‘Dies irae’, a thrilling outburst, Berlioz not overdoing it in terms of repetition, and this familiar venue (from webcasts) proving large enough for this battalion of musicians. Yet much of Berlioz’s writing is intimate and reflective, sensitively rendered by the chorus, Nicholas Collon ensuring subtle dynamics as well as bringing out Berlioz’s contrasting frequencies, skyline-high against fathoms-deep sonorities. All this had been faithfully prepared for a devotional and dramatic account in which the chorus (also plenty of members) was exceptional in its privacy and exultancy, the orchestra (with antiphonal violins, basses to the left), fullest fortissimos aside, was supportive without being bland. In the ‘Sanctus’, tenor John Findon, located high in the hall, was suitably plangent and reminded that he is a notable Gerontius. The (here) eighty minutes were persuasive in terms of emotional power and heartfelt entreaties, a polished, communicative performance listened to raptly, warmly received by a capacity audience.
“If I were threatened with the destruction of all my works save one, I should crave mercy for the Requiem” said Hector Berlioz. Even for a composer who thought on an unprecedented scale his Grande Messe des Morts is something special: a colossal, apocalyptic musical fresco of the Day of Judgement. Nicholas Collon rallies the forces of heaven and earth… [FRSO/Yle]
John Findon, tenor
Helsinki Music Centre Choir
Estonian National Male Chorus
Somnium Ensemble