Morandi brings to his interpretation a youthful, Italian energy and generosity of expression.
Given a judicious choice of young soloists, all up to their exigent tasks, an excellent chorus (a shattering 'Dies irae', an alert, not too drilled Sanctus, a disciplined 'Libera me' fugue) and a well-fashioned recording, this set makes a compelling case for recommendation as an alternative to Gardiner's period-performance set. Try track 7, the 'Rex tremendae', where you can hear how Morandi builds a movement unerringly to an appropriately tremendous climax.
The soloists show how involved they are in the work, form a good ensemble and individually exhibit the intelligence to sing quietly as needed. Filipova and Scalchi combine into a rich-toned duo in 'Liber scriptus', spoilt a little by moments of indeterminate pitch from the soprano. Hernández, with his warm, baritonal, Spanish-style tenor, sings a sensitive 'Ingemisco' (a touch of insecurity at the start excepted), succeeded by Colombara's truly magisterial conjuring of the flames of hell at 'Confutatis maledictis'. Filipova's floated entry at 'huic ergo' in the succeeding trio and the sheer intensity of the whole 'Lacrymosa' bring the 'Dies irae' to a fitting close.
The rest of the work's performance is on an equivalent level of achievement, Morandi always judging speeds to a nicety. The fill-up to this large-scale reading is a fine performance of the Quattro pezzi sacri.