A notable first recording, this, of the work which Donizetti wrote as ''the last proof of my friendship for the shade of poor Bellini''. News of Bellini's death near Paris in September 1835 reached Donizetti during the frantic final stages of rehearsal for Lucia di Lammermoor. He immediately resolved to write a Requiem, which it seems he completed promptly though the first known performance is as late as 1870. The work was published in 1975 in an edition by Vilmos Lesko, and this is what is persuasively presented in the recording. It appears uncertain whether Donizetti himself ever heard the Requiem; his life at this time involved him in a hectic rush from one rehearsal and one new score to the next, and before that year was out he had a further cause for mourning, in the death of his father, The work we now hear, most of us for the first time, is impressive in its historical context, and though there is plenty to satisfy the Italian love of melody, its appeal is strengthened by some lively counterpoint and effective orchestration. It would be too much to claim that it anticipates Verdi's Requiem, and yet the final movement, the Libera me, is at the very least a significant forerunner.
The performance is worthy of the occasion, the choir fresh-voiced, the orchestra highly accomplished, the conducting sensitive. Soprano and mezzo soloists have more limited opportunities than the tenor and bass, which is a pity as both women are admirable, whereas the tenor part could do with fresher tone and the bass with rather more varied colouring. It remains a convincing performance under sensible direction. The recording is clear and well balanced; 'warm' rather than sharp in definition. Considering that it is essentially a 'new work', the notes by Gottfried Kraus should have more to tell us and, as the text of the Requiem is not included, we might wonder why Orfeo should give a page to its company credits, leaving one half empty and the back cover blank. There is also no information about the circumstances of this performance, we would be interested to know whether it was given live and, if not, when and where the first public performance took place.'