VERDI’S REQUIEM FRIDAY, NOVEMBER 20, 2026 AT 7:30PM SATURDAY, NOVEMBER 21, 2026 AT 7:30PM OHIO THEATRE
ROSSEN MILANOV, CONDUCTOR ANN TOOMEY, SOPRANO ALICE CHUNG, MEZZO-SOPRANO MOISÉS SALAZAR, TENOR RICHARD OLLARSABA, BASS COLUMBUS SYMPHONY CHORUS STEPHEN CARACCIOLO, CHORUS DIRECTOR
............................. VERDI
Requiem
I. Requiem and Kyrie II. Sequence (Dies Irae) III. Offertorio (Domine Jesu) IV. Sanctus V. Agnus Dei VI. Lux aeterna VII. Libera me
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G U E S T A RT I S T S American soprano Ann Toomey, whom Naples Daily News proclaimed “is a brilliant Floria Tosca…[whose] rich voice projects power that doesn’t disintegrate under adversity” is enjoying a burgeoning and varied international career. In the 2026-27 season she joins Livermore Valley Opera for the title role in Suor Angelica, St. Barths Music Festival for Violetta in La traviata, a role debut, and in concert, Radio France on a tour of France presenting American musical theater. Last season, Toomey made her debut as the title role in Madama Butterfly with Lyric Opera of Kansas City, performed the title role in Tosca with Florentine Opera and the role Ofglen in The Handmaid’s Tale with Detroit Opera. With the BBC Symphony, she appeared as soprano soloist in the critically acclaimed opera/rock pastiche Queen at the Opera, which she premiered at the Grange Festival in summer 2025. Other concert appearances included Barber’s Knoxville: Summer of 1915 with Santa Fe Symphony, and Mahler’s Symphony No. 2 with Northwest Florida Orchestra. Recent highlights include the title role in Suor Angelica at the Berlin Philharmonic, Tosca with Sarasota Opera, Opera Naples and Livermore Valley Opera, Woglinde in Das Rheingold with the Los Angeles Philharmonic, the Una poenitentium in Mahler’s Symphony No. 8 with the Nashville Symphony, Ortlinde in Die Walküre with Detroit Opera, Meg Page in Sir John in Love, Mrs. Lovett in Sweeney Todd with Dayton Opera, the Witch in Into the Woods with Tulsa Opera, Lady Billows in Albert Herring with the Princeton Festival, the title role in Die Kathrin with the Chicago Folks Operetta, Wolf Trap Opera for the title role in Susannah, at Lyric Opera of Chicago as Musetta in La bohème, First Lady in Die Zauberflöte, Fifth Maid in Elektra, the Mother in Amahl and the Night Visitors with Opera San Antonio, and First Lady in Die Zauberflöte with Glyndebourne Festival. Toomey is a former member of the Ryan Opera Center at the Lyric Opera of Chicago, a Met Opera National Council Auditions national semifinalist and Richard F. Gold Career Grant Recipient. A native of Detroit, she splits her time between Michigan, Chicago and Los Angeles. Lauded by Opera News as “one of America’s most gifted young singers,” Korean American mezzo-soprano Alice Chung is recognized for her “operatic tonal glamour” (Parterre) and being “a force of nature with a sound both powerful and appealing” (San Francisco Classical Voice). Following her international debut in the summer of 2026 as Olga in a new production of Eugene Onegin at The Grange Festival in the U.K., Ms. Chung’s 2026-27 season includes the world premiere of Carla Lucero’s Tea in her return to Hawai’i Opera Theatre in 2027. On the concert stage this season, she appears in Verdi’s Requiem as Mezzo soloist with both the Columbus Symphony Orchestra and the Philadelphia Youth Orchestra. Recent seasons have included a series of notable role debuts across both standard and contemporary repertoire, including Laura Adorno in La Gioconda with Pittsburgh Festival Opera, Amneris in Verdi’s Aida with Boston Lyric Opera, and Dinah in Bernstein’s Trouble in Tahiti with Annapolis Opera. Other highlights include the title role in Bizet’s Carmen with Hawai’i Opera Theatre, Mother in the world premiere of Derrick Wang’s Fearless with OperaDelaware, and Ox/Pig in the world premiere of The Big Swim with Houston Grand Opera. Ms. Chung is a graduate of The Academy of Vocal Arts in Philadelphia, a 2025 Ravinia Steans Music Institute fellow, and a two-time alumna of the prestigious Merola Opera Program.
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G U E S T A RT I S T S Moisés Salazar is a Mexican-American tenor known for his rich romantic sound and broad range of vocal color. During the 202627 season, Mr. Salazar will debut as the tenor soloist in Verdi’s Requiem with the Columbus Symphony Orchestra. During recent seasons, he debuted the role of Pinkerton in the San Francisco Opera production of Madame Butterfly. As an Adler Fellow, he participated in intense role study, coaching, and constant performances built around small ensemble and salon styles, as well as full stage production. Mr. Salazar returned to Palm Beach Opera as Remendado (Carmen) and Nemorino (L’elisir d’amore - cover), and took the stage at Merola Opera Program as 1st Armored Man in Die Zauberflöte. During the 2021-2022 season, Moisés covered Buckley (The Tongue and the Lash) and Gherardo (Gianni Schicchi) at Opera Theatre of St. Louis. He also appeared as Tebaldo in I Capuleti e i Montecchi, Rodolfo (cover) in La bohème, both 1st Priest and 1st Armored Man in Die Zauberflöte, and Tamino (cover) in Die Zauberflöte at Palm Beach Opera. 2020’s engagements canceled due to COVID-19 included Elder Gleaton in Susannah and Frank in Awakenings at Opera Theatre of St. Louis. Moisés began singing with his family’s mariachi band, Trio Los Salazar, and is presently creating a concert series dedicated to Mexican folk music. Past roles include Ferrando (Così fan tutte), Señor Alcalde (The Summer King), Lysander (A Midsummer Night’s Dream), Borsa (Rigoleto), and Camille (The Merry Widow).
Mexican-American bass-baritone Richard Ollarsaba — praised by The Washington Post for his “meltingly smooth bass-baritone” — represented the USA in the 2019 BBC Cardiff Singer of the World competition. He was also a member of the prestigious Ryan Opera Center at Lyric Opera of Chicago for three seasons and a grand finalist in the 2013 Metropolitan Opera National Council Auditions. Mr. Ollarsaba debuts two important roles during the 2026-27 season; Sharpless in Puccini’s Madama Butterfly (with Knoxville Opera) and Germont in Verdi’s La traviata for a hometown audience with Arizona Opera. On the concert stage, he also performs the bass solos of Verdi’s Requiem with the Columbus Symphony, under the baton of Maestro Rossen Milanov. Recent highlights include Escamillo in Carmen with Nashville Opera, Hawai’i Opera Theatre, Charlottesville Opera, Opera Columbus, Glimmerglass Festival, Lyric Opera of Kansas City, Portland Opera, Kentucky Opera, Minnesota Opera, North Carolina Opera, Tulsa Opera, Annapolis Opera, and the Bar Harbor Music Festival; Count Almaviva in Le nozze di Figaro with Portland Opera, Pensacola Opera, Piedmont Opera, Knoxville Opera, New Zealand Opera, and Virginia Opera; Figaro in Le nozze di Figaro for the Sacramento Philharmonic & Opera and Minnesota Opera; Riolobo in Florencia en el Amazonas for North Carolina Opera; Miguel de Cervantes/Don Quixote in Man of La Mancha for Piedmont Opera; Enrico in Lucia di Lammermoor with Pensacola Opera, The titular Don Giovanni with Arizona Opera, Opera Grand Rapids, Opera Carolina, and Opera Hong Kong; The Life and Death(s) of Alan Turing (composed by Justine F. Chen) with Chicago Opera Theater; and Schaunard in La bohème with Jacksonville Symphony.
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ST ESE P HH RRRA OLLO O,,, CCChhh sD icre t ro r ST TP E PEH EN E NNCCA CAA AAC C CC CIIO O oororurususD iD re i re tcotcro Stephen Caracciolo is the Chorus Director of the Columbus Symphony Orchestra, preparing the CSO Chorus for appearances in the Masterworks concert series and conducting community performances of the CSO Chamber Choir. Dr. Caracciolo is a conductor recognized for his passionate artistry and creative leadership in interpreting an expansive range of the choral repertoire, including choral-orchestral works, Renaissance and Baroque motets, GermanRomantic part songs, French chansons, the sacred literature of the English and Russian churches, opera choruses, American folk songs and spirituals, and works by living composers. For twelve years he was a professional choral bass at Washington National Cathedral where he also served as the cover conductor for masses, choral evenings, and special services. He has performed choral masterworks with the New York Philharmonic, the Philadelphia Orchestra, the Juilliard Orchestra, the American Symphony, and the orchestra of Washington National Cathedral with such renowned conductors as Robert Shaw, Zubin Mehta, Riccardo Muti, Kurt Masur, Erich Kunzel, Michael McCarthy, and James Levine. Known nationally as a composer and arranger, Caracciolo’s choral works are performed extensively throughout the United States and Europe. He is a composer with MorningStar Music Publishers, E.C. Schirmer, Kjos Music, and Roger Dean Publishing, and is active as a consultant for various educational, ecclesiastical, and professional organizations. His publications — including commissions for the acclaimed professional vocal ensemble, Cantus — appear on numerous professional, collegiate, and cathedral repertoire lists, and may be heard on nationally distributed recordings as well as syndicated radio broadcasts including the well-known Sunday program, With Heart and Voice. Dr. Caracciolo concurrently serves as Artistic Director of ProArteOHIO, Central Ohio’s premier professional vocal ensemble. Under his leadership, the ensemble consistently garners high praise for its beauty of tone, remarkable blend, and exceptional commitment to elegant text phrasing. Previous conducting posts include the Maryland Choral Society and choral ensembles at the University of Maryland-Baltimore, Roberts Wesleyan College, the Ohio University School of Music, and Denison University. Caracciolo holds a doctoral degree in conducting from the Jacobs School of Music at Indiana University, a master’s degree in conducting from Westminster Choir College, and a bachelor’s degree in music education from the Capital University Conservatory of Music.
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COLUMBUS SYMPHONY CHORUS SOPRANO I
Alleana Bammerlin Laura Byars Andrea Dent Mackenzie Dillenbeck Katie DiPietro Charlotte Rose Geary Sarah Higley Mollie Kaye Makenna Koehl Brenna Moan Stephanie Rodriguez Lexi Scherzer Megan Trierweiler Amie Watroba Victoria Zanatian
SOPRANO II
Liz ArtetaCunningham Kathryn Ehle Karissa Frische Charlene Grant Cassie Howard Tiffany J. Huang Elizabeth Jewell Becker Alexa Konstantinos Suzanne Magazzeni Miriam Matteson Gretchen Mote Elizabeth Neer Maureen O’Brien Amy Adele Parker Stephanie Pikovnik Elisabeth Ross Julie White Sadie Wuertz Mary Yarbrough Jennifer Young
ALTO I
Leslie Armstrong Aubrey Bailey Amy Bergandine Kelli Clawson Kailey Coulter Deborah Forsblom Suzanne Fryer Rebecca Harchick Jessica Kahn Natalie Meyers Hannah Miller Rowlands Cassie Otani Kaitlyn Rath Wendy Rogers Gretchen Rutz Leist Jenna Shively Katie Thornton Katerina Warner Shelli White
ALTO II
Jordan Abbruzzese Andrea Brown Dalia Cruces-Eagle Lauren Grangaard Kirby Johnson Georgia Loftis Melissa Obergefell Debbie Parris Lisa Peterson Elizabeth Pittman Christina Rossi Andrea Rower Heather Rudisill Laura Scobell Laura Smith Alivia Snyder Peggy Wigglesworth
TENOR I
Wade Barnes Justin Burkholder Daniel Davis Geoffrey Gear Ian Keller Aaron Lashley Adam Mesker Brennan Pendrake Matt Pittman Richard Spires Andrew Sutherland Eric White Michael Wigglesworth
TENOR II
William B. Catus III Michael Cochran Andy Doud Hector Garcia Santana Darius McBride Matthew Norby Paul Ricketts Joshua T. Shipley Evan Stefanik Aaron Stephens Ed VanVickle Thom Wyatt Jason Yoder
BARITONE
Alexander Almeida Kevin Baum Anthony Brown Raymond Cho Ben Cutarelli Gary Everts Keith Frische William Gehring Andrew Grega Ernest Hoffman James Legg Gordon McKnight Kyle Norton Dominic Straquadine David Zach
BASS
Scot Ashton Kevin Bilbrey Jacob Conrad Luis Falcon Ian Furniss Dylan Haywood Sergio Martin Kent Maynard Robert Moreen Allen Rutz David Rutz Andrew Shadwick Bruce Turf Aaron Wagner Alexander Weymann Keith Whited
DIRECTOR
Stephen Caracciolo
ACCOMPANIST Casey Cook
BOARD CHAIR Keith Whited
COORDINATOR Lauren Grangaard
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PROGRAM NOTES Requiem (1869–73)
by Giuseppe Verdi (Le Roncole, Duchy of Parma, 1813 – Sant’Agata, Italy, 1901) Most recent Columbus Symphony performance: Oct. 28-29, 2016; Rossen Milanov conducting. Duration: 83’ Throughout his long life, Giuseppe Verdi devoted his energies almost exclusively to the writing of operas. He wrote only a few works in other forms, of which the Requiem is by far the most important. There is no doubt that Verdi felt a spiritual need to write it. Unlike most of the operas, the Mass of the Dead was not commissioned by anyone; the composition was Verdi’s own initiative, a project that occupied him for several years during which time he wrote no new operas. As a matter of fact, there wasn’t just one project but two. In 1868, Gioachino Rossini passed away, and the last surviving member of the great triumvirate of opera composers before Verdi was gone (Bellini and Donizetti had died many years earlier). Verdi, well aware that a whole era of musical history had come to an end, took the initiative — with the help of his publisher, Tito Ricordi — to invite a group of composers to write a joint Requiem. The composers duly completed their work, but the performance fell through because of technical difficulties. (The Messa per Rossini remained unperformed until 1988.) Five years later, the death of the great novelist Alessandro Manzoni compelled Verdi to set the entire Mass, this time all by himself. Now nothing stood in the way of the performance; the premiere, at Milan’s San Marco church, was a resounding success and was followed by three more performances at La Scala, Milan’s famous opera house, as well as performances in many countries. The very first word, “Requiem,” is whispered rather than sung by the chorus,
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to great dramatic effect. Soon after that, Verdi introduced the first of many great melodies. For “Te decet hymnus,” he wrote a hymn for unaccompanied chorus, whose contrapuntal imitations suggest Renaissance polyphony. After a return of the “Requiem aeternam” section (with choral whispers and lyrical violins) the soloists take over in the “Kyrie,” a fervent plea for mercy. The high point of the Requiem is, without question, the monumental Dies irae, based on the famous medieval poem about the Last Judgment, attributed to Thomas of Celano (around 1250). The mighty strokes of the timpani and bass drum serve as a backdrop for one of the most powerful expressions of fear and anguish in the entire history of music. The eruption of intense emotions gradually yields to silent shudders at the words “Quantus tremor est futurus” (“How great a trembling there shall be”). Another violent explosion occurs at “Tuba mirum” (with onstage and offstage brass), followed by a whisper expressing the “stupefied” (stupebit) state in which Death and Nature find themselves at the sound of the trumpet. The same extremes characterize the mezzo-soprano solo “Liber scriptus” (“A Written Book”), which culminates in a reprise of the movement’s dramatic opening. The mood changes in “Quid sum miser” as the tempo slows down and the mezzosoprano begins a beautiful lyrical melody surrounded by the figurations of a solo bassoon. This is where the poem suddenly switches to first person singular: “What can a wretch like me say?” The section evolves into a profoundly moving quartet between three vocal soloists (soprano, mezzo, tenor) and the solo bassoon. Bass voices and low-pitched instruments intone the solemn “Rex tremendae majestatis,” answered by an ethereal melody at “Salva me.” The “Recordare” is a heart-rendingly beautiful duet for female voices. The tenor soloist sings “Ingemisco” in a tone that is in turn tender and heroic; the bass’s “Confutatis
PROGRAM NOTES is presented in augmentation (twice as slowly as the first time) in preparation for a grandiose ending. The beginning of the austere Agnus Dei alludes to (though does not actually quote) Gregorian chant with its unaccompanied single vocal line, sung by the soprano and mezzo soloists in parallel octaves. The melody is repeated by the chorus. The instruments join in during further repeats of the melody, alternating between soloists and chorus — including a breath-taking quintet of two singers and three flutes, followed by a choral response and a short, highly emotional coda.
Portrait of Alessandro Manzoni, the great novelist whose death inspired Verdi’s Requiem, painted by Francesco Hayez (1841, oil on canvas). maledictis” again links images of turmoil and salvation in a dramatically poignant way. The lyrical conclusion of the bass aria is brusquely interrupted by another reprise of the movement’s opening with its formidable drumstrokes. The “Dies irae” concludes with the exceptionally moving “Lacrymosa.” The main melody of the Offertory is introduced by unaccompanied cellos and subsequently taken over by the soloists. The middle section “Hostias et preces” is a quiet prayer for eternal life, followed by an expanded return of the previous section. The movement ends quietly, rising from the lowest register of the voices to the highest, and fading away with the sound of the muted strings. The Sanctus is a fugue for double chorus, in which the texts “Sanctus,” “Osanna,” and “Benedictus” are all combined, contrary to traditional practice. The vigorous contrapuntal activity stops in the final section of the movement, where the melody
In Lux aeterna, the idea of eternal light is symbolized by the tremolos (fast repeated notes) of the violins and — later in the movement — by the piccolo’s striking staccato motif (one moving in wellseparated fast notes). A warm melody, first introduced by the bass soloist, is associated with the words “requiem aeternam” (“eternal rest”). Three of the four soloists (mezzo, tenor, and bass) come together in a harmonically intricate, unaccompanied trio to praise God for His mercy. The Libera me movement, scored for soprano solo and chorus, opens with some speech-like recitation. The image of the judgment by fire soon prompts an impassioned outburst, and the trembling of the terrified soul is rendered by a very unsettling motion in descending halfsteps. A brilliant and fiery fugue crowns the movement, but the last word, like the first, is barely whispered: the work ends on an introspective note rather than with grand gestures.
Notes by Peter Laki
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REQUIEM | TEXT 1. Requiem and Kyrie (Chorus) Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Te decet hymnus, Deus in Sion, et tibi reddetur votum in Jerusalem. Exaudi orationem meam, ad te omnis caro veniet. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.
Give them eternal rest, o Lord, and let perpetual light shine upon them. A hymn, o God, becomes You in Zion, and a vow shall be paid to You in Jerusalem. Hear my prayer, all flesh shall come to You. Give them eternal rest, o Lord, and let perpetual light shine upon them.
2. Dies Irae (Chorus) Dies irae, dies illa, solvet saeclum in favilla, teste David cum Sibylla.
The day of wrath, that day, will dissolve the world in ashes, as prophesied by David and the Sibyl.
Quantus tremor est futurus, quando judex est venturus, cuncta stricte discussurus.
How great a trembling there shall be when the judge shall appear and separate everything strictly.
Tuba mirum spargens sonum per sepulchra regionum, coget omnes ante thronum.
The trumpet, sending its wondrous sound throughout the tombs of every land, will summon everyone before the throne.
(Bass solo) Mors stupebit et natura, cum resurget creatura, judicandi responsura.
Death and Nature will be stupefied, when all creation rises again to answer Him who judges.
(Mezzo-soprano solo and chorus) Liber scriptus proferetur, in quo totum continetur, unde mundus judicetur.
A book will be brought forth in which everything will be contained, by which the world will be judged.
Judex ergo cum sedebit, quidquid latet apparebit, nil inultum remanebit.
When the Judge takes His place, anything hidden will be revealed, nothing will remain unavenged.
Dies irae, dies illa, solvet saeclum in favilla, teste David cum Sibylla.
The day of wrath, that day, will dissolve the world in ashes, as prophesied by David and the Sibyl.
(Soprano, Mezzo-soprano, Tenor) Quid sum miser tunc dicturus? Quem patronum rogaturus, cum vix justus sit securus?
What can a wretch like me say? What patron shall I ask for help when the just are scarcely protected?
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REQUIEM | TEXT (Solo quartet and Chorus) Rex tremendae majestatis, qui salvandos salvas gratis, salva me, fons pietatus.
King of terrible majesty, who freely saves those worthy of redemption, save me, Source of Mercy!
(Soprano, Mezzo-soprano) Recordare, Jesu pie, quod sum causa tuae viae, ne me perdas illa die.
Remember, sweet Jesus, that I am the cause of your suffering, do not forsake me on that day.
Quaerens me, sedisti lassus, redemisti crucem passus, tantus labor non sit cassus.
Seeking me, you descended wearily, You redeemed me by suffering on the cross, such great effort should not have been in vain.
Juste judex ultionis, donum fac remissionis, ante diem rationis.
Just Judge of Vengeance, grant the gift of remission before the day of reckoning.
(Tenor) Ingemisco tamquam reus, culpa rubet vultus meus, supplicanti parce, Deus.
I groan like a criminal, my face blushes with guilt, God, spare a supplicant.
Qui Mariam absolvisti, et latronem exaudisti, mihi quoque spem dedisti.
You who absolved Mary [Magdalene] and inclined your ear to the thief, have also given me hope.
Preces meae non sunt dignae, sed tu bonus, fac benigne, ne perenni cremer igne.
My prayers are unworthy, but, Good One, have mercy, that I may not burn in everlasting fire.
Inter oves locum praesta, et ab hoedis me sequestra, statuens in parte dextra.
Grant me a place among the sheep, and separate me from the goats, keeping me at your right hand.
(Bass and Chorus) Confutatis maledictis, flammis acribus addictis, voca me cum benedictis.
When the damned are dismayed and assigned to the burning flames, call me among the blessed.
Oro supplex et acclinis, cor contritum quasi cinis, gere curam mei finis.
I pray, suppliant and kneeling, my heart contrite as ashes, care for me when my time is at an end.
(Solo quartet and Chorus) Lacrymosa dies illa, qua resurget ex favilla, judicandus homo reus. Huic ergo parce Deus, dona eis requiem. Amen.
The day of wrath, that day, will dissolve the world in ashes, all humanity to be judged. But spare me, God, grant them eternal rest. Amen.
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REQUIEM | TEXT 3. Offertory (Solo quartet) Domine Jesu Christe, rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni et de profundo lacu! Libera eas de ore leonis, ne cadant in obscurum, Sed signifer sanctus Michael representet eas in lucem sanctam, quam olim Abrahae promisisti et semini ejus.
O Lord Jesus Christ, King of Glory, deliver the souls of all the faithful departed from the pains of hell and from the deep pit; deliver them from the lion’s mouth, don’t let them fall into darkness. But have the holy standard-bearer, Michael, lead them into the holy light which you once promised to Abraham and his seed.
Hostias et preces tibi, Domine, laudis offerimus. Tu suscipe pro animabus illis, quarum hodie memoriam facimus: fac eas, Domine, de morte transire ad vitam, quam olim Abrahae promisisti et semini ejus.
Sacrifices and prayers of praise, Lord, we offer to you. Receive them today for the souls of those we commemorate this day; make them, o Lord, pass from death to the life which you once promised to Abraham and his seed.
Libera animas omnium fidelium defunctorum de poenis inferni, fac eas de morte transire ad vitam.
Deliver the souls of all the faithful departed from the pains of hell, make them pass from death to life.
4. Sanctus (Chorus) Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth! Pleni sunt coeli et terra gloria tua! Hosanna in excelsis! Benedictus qui venit in nomine Domini. Hosanna in excelsis!
Holy, holy, holy, Lord God of Hosts. Heaven and earth are full of your glory. Hosanna in the highest! Blessed is he who comes in the name of the Lord. Hosanna in the highest!
5. Agnus Dei (Soprano, Mezzo-soprano, and Chorus) Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.
Lamb of God, you who take away the sins of the world, grant them rest. Lamb of God, you who take away the sins of the world, grant them eternal rest.
6. Lux aeterna (Communion) (Mezzo-soprano, Tenor, and Bass) Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.
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May eternal light shine upon them, o Lord, with your saints in eternity, for you are merciful. Give them eternal rest, o Lord, and let perpetual light shine upon them.
REQUIEM | TEXT 7. Libera me (Soprano and Chorus) Libera me, Domine, de morte aeterna, in die illa tremenda, quando coeli movendi sunt et terra, dum veneris judicare saeculum per ignem.
Deliver me, o Lord, from eternal death on that dreadful day when the heavens and the earth shall be moved and You shall come to judge the world by fire.
Tremens factus sum ego et timeo dum discussio venerit atque ventura ira; quando coeli movendi sunt et terra.
I am seized with fear and trembling at the judgement that shall come and at the coming of Your wrath.
Dies irae, dies illa, calamitatis et miseriae, dies magna et amara valde.
The day of wrath, that day, of calamity and misery, dread day of bitter sorrow.
Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.
Give them eternal rest, o Lord, and let perpetual light shine upon them.
Libera me, Domine, de morte aeterna, in die illa tremenda, quando coeli movendi sunt et terra, dum veneris judicare saeculum per ignem.
Deliver me, o Lord, from eternal death on that dreadful day when the heavens and the earth shall come and at the earth shall be moved and You shall come to judge the world by fire. Deliver me, o Lord, from eternal death on that dreadful day. Deliver me!
Libera me, Domine, de morte aeterna, in die illa tremenda. Libera me!
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