“Verdi's Messa da Requiem (Requiem Mass) is a much-lauded musical masterpiece, a triumph from the day it premiered in 1874.”
- Karen Van Ulzen
Queensland Ballet in association with QPAC, and generous support from the Messa da Requiem Giving Circle present
Messa da Requiem
–
Glasshouse Theatre, QPAC
Where music, movement, and mortality collide.
Verdi’s monumental Messa da Requiem comes alive in Christian Spuck’s breathtaking staging, fusing voices, orchestra, and 36 dancers into a living sculpture of sound and movement. From the whispered prayers to the thunderous Dies Irae, this work explores life, death, and the mystery beyond in a collision of opera, dance, and ritual. Featuring over 170 singers and Queensland Symphony Orchestra musicians, this unforgettable staging is both epic and intimate. A once-in-a-generation experience that transcends boundaries.
Image credit: Artists of Stattsballett and Stattsoper Berlin. Photography Sergei Gherciu.
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Venue
The Glasshouse Theare, QPAC
Russel St South Brisbane QLD 4101
Credits
Christian Spuck
Choreographer
Daniel Mulligan
Stager
Katja Wünsche
Stager
Stephanie Lenzen
Stager
Giuseppe Verdi
Music
Christian Schmidt
Set Designer
Emma Ryott
Costume Designer
Christopher Parker
Assistant to Costume Designer
Martin Gebhardt
Lighting Designer
Elfried Roller
Revival Lighting Designer
Simon Hewett
Conductor
Queensland Symphony Orchestra
Music Performer
Emily Cox AM
Chorus Master
Brisbane Chorale
Choir
Claus Spahn
Dramaturg
Performances
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- Opening Night
- Q&A
#Reviews
#Production
#Image Gallery
Artists of Stattsballett and Stattsoper Berlin.
Photography Sergei Gherciu.
- First performed in Milan in 1874, the seeds of Messa da Requiem were sown with the death of Verdi’s compatriot, Gioachino Rossini. Shortly after, Verdi’s close friend, Alessandro Manzoni, also passed away.
- Verdi composed Messa da Requiem in honour of both men, sending the completed score to his publisher in Milan, who not only printed it but also promoted it through the newspapers.
- Messa da Requiem is structured in seven movements: Dies Irae (Day of Wrath), Offertorio (Offertory), Sanctus (Holy), Agnus Dei (Lamb of God), Lux Aeterna (Eternal Light), and Libera Me (Deliver Me).
- The most well-known musical moment, Dies Irae, appears in the second movement. It symbolises death, with the chorus crying out in fear of the approaching Judgment Day. Its thunderous percussion and dramatic vocals include some of the most recognisable phrases in classical music.
- The haunting and lyrical Agnus Dei (Lamb of God) is a simple yet deeply moving acappella piece performed by the opera singers.
- Christian Spuck first heard Verdi’s Messa da Requiem on the radio at age 17. At the time, he was writing a paper on Franz Kafka and recorded the legendary Toscanini interpretation on his cassette recorder.
- Original Composition (1874):
- Messa da Requiem was composed by Giuseppe Verdi in 1874 as a memorial to the Italian poet and novelist Alessandro Manzoni.
- Originally written as a sacred choral and orchestral work, not intended for ballet or staged performance.
- First Major Choreographic Interpretation – Maurice Béjart (1961):
- One of the earliest and most influential uses of Messa da Requiem in ballet was choreographed by Maurice Béjart for the Ballet du XXe Siècle.
- Béjart's version was a spiritual and theatrical interpretation, using the mass as a universal expression of mourning and rebirth.
- This production became iconic and controversial for its powerful imagery and departure from traditional ballet.
- Continued Influence of Béjart’s Version:
- Revived multiple times across Europe; it remains one of Béjart’s most enduring and emotionally resonant works.
- Performed by major companies including the Béjart Ballet Lausanne, often in large-scale venues due to the orchestral and choral demands.
- Other Choreographic Interpretations:
- While Béjart’s version remains the most notable, a few other choreographers have tackled Messa da Requiem, though far less frequently.
- Christian Spuck (Director of Ballett Zürich) created a choreographic interpretation in 2016, emphasising abstract spiritual and existential themes.
- Rare Use Due to Scale:
- Verdi’s Requiem is not commonly used in ballet due to its monumental structure, length, and the need for live chorus and full orchestra.
- When staged, it's often presented as a hybrid of dance, concert, and theatre, rather than traditional narrative ballet.
- Contemporary Significance:
- Choreographic interpretations of Messa da Requiem are often linked to commemoration, spiritual reflection, or collective mourning—used during significant anniversaries or memorials.
- Continues to inspire choreographers seeking to explore the intersection of the sacred and the physical.
