I remember my first rehearsal of Verdi’s Requiem. I didn't know the work well, and having begun with some of the gentler passages from the opening movement, I was startled when the basses around me suddenly launched into an ear-splitting rendition of Rex tremendae majestatis!

The work is full of thrilling moments like this: the terrifying Dies irae, the spectacular trumpet fanfares of the Tuba mirum, and the rollicking fugues of the Sanctus and Libera me. But there are also passages of quiet beauty, such as the delicate Et lux perpetua and the pleading Salva me.

There is also a lot of interplay between the soloists and the choir, beautifully illustrated by the way they introduce themselves one by one in the Kyrie. This can make the work surprisingly tricky to rehearse, with long stretches, particularly in the extended second movement, where the choir has little to do beyond the occasional hushed interjection.

For me, Verdi's Requiem is one of the greatest works a choir can sing, perhaps even the greatest, and certainly the most dramatic. Not surprising, given that Verdi was primarily an opera composer, bringing all his theatrical genius to bear on a Requiem inspired first by the death of fellow composer Rossini, and later by that of the writer Alessandro Manzoni, whom he greatly admired.

My favourite Verdi Requiem performance for sheer drama is the film of Von Karajan at La Scala, with soloists so good they even eclipse a young Pavarotti. Only available on streaming services, but worth seeking out.