Joost Brings the Full Dramatic Force of Brahms´ A German Requiem
Risto Joost’s performance of Brahms’ A German Requiem at the VriendenLoterij Summer Concerts immediately revealed the strengths of a conductor with a distinguished choral background. Having led ensembles including the Netherlands Chamber Choir, the Estonian maestro clearly approaches this masterpiece from a choral perspective. This was, above all, a triumph for the Netherlands Radio Choir, meticulously prepared by Ines Kaun, whose singers embraced Joost’s vision with remarkable commitment.
Performing before a capacity audience in a relaxed summer atmosphere, the choir aimed to offer listeners—not all of whom were necessarily familiar with the work—a deeply musical, and perhaps even spiritual, experience. Having heard the Requiem live only once before, I found this performance completely convincing. Although numbering only around fifty singers, the choir combined impressive power with extraordinary intimacy and warmth.
At times, Joost’s role seemed less about driving the performance than about gently containing the choir’s energy. The programme booklet captures this perfectly, stating that “the singers perform the work together with the Radio Philharmonic Orchestra, soprano Sofia Fomina, baritone Raoul Steffani and conductor Risto Joost.” The emphasis truly belonged to the choir.
Yet Joost gave the Radio Philharmonic Orchestra every opportunity to display its full expressive range as well. While A German Requiem is often approached as a work of consolation, tenderness and quiet reflection, Joost made a compelling case that it is also, unmistakably, a requiem. Under his direction, the dramatic climaxes of the second movement (“For all flesh is as grass”) and the seventh movement (“For here we have no continuing city”) possessed a monumental intensity that at times recalled the great Dies iraesettings of Berlioz and Verdi. There was nothing restrained about the dynamic range, and the effect was immensely satisfying.
The brass section shone with brilliance, the woodwinds cut through the orchestral texture with striking force, underscoring the work’s moments of solemn warning, while the strings—supported by the Concertgebouw’s magnificent acoustics—provided warmth, clarity and cohesion. Particularly impressive were the double basses, whose rich, resonant lines emerged with unusual prominence. They are always present in Brahms’ score, but rarely are they heard with such clarity. The recurring timpani rolls likewise made a powerful impression.
From a front-row balcony seat, the sheer impact of the performance was overwhelming. During the solo passages, however, Joost wisely drew back the orchestra to allow soprano Sofia Fomina and baritone Raoul Steffani the space they deserved. Their voices blended beautifully into the overall soundscape, although from that vantage point it also became apparent that the hall’s acoustic balance favours the singers more than the very front of the balcony.
Opera Magazine
Neil van der Linden
8 July 2026