Dream of Gerontius,
Ripon Cathedral, 17 November 2012
The
North Yorkshire Chorus, Wetherby Choral Society, Mowbray Orchestra and soloists
under the baton of John Dunford combined to give a memorable and moving
performance of Elgar’s immense work in a setting that accommodates it so much
better than the concert hall. Both choir
and orchestra used the resonant acoustic skilfully, in more intimate passages
as well as in the great climaxes; Greg Smith at the organ underpinned
sympathetically but with panache when required – the sound of the massive pedal
notes dying away in the awed silence at the end of Praise to the Holiest will
remain long in the memory. The balance in the orchestra was excellent,
producing an attractive, blended tone throughout; the choir was alert,
responsive and disciplined. Maybe the
demons might have been more devilish, and there were some anxious moments in
the fugal passage of Praise to the Holiest, but this was a performance
of which singers and players should be proud.
So, too, the conductor, whose sure sense of pace and structure was
evident throughout. John Dunford’s
programme note admitted to a personal involvement with the work that might have
got in the way of the music, but it never did.
The tenor soloist, Philip Shefield, was the only disappointment of the
evening. While Gerontius is
undoubtedly operatic – a sort of English Parsifal - lite, so to speak –
his unvarying declamatory style, singing sequences of notes rather than
phrases, and the tendency to start each new entry just below the note, became
tiresome. Novissima hora est should
send a shiver down the spine – but it didn’t.
Although the mezzo-soprano Margaret McDonald shared at times with Philip
Sheffield a tendency to poor diction, her tone throughout the range was full
but pure; she shaped phrases beautifully and was able to use an exquisite sotto
voce as well as taking – thrillingly
– Elgar’s high note options. Bass-baritone John Anthony Cunningham was authoritative and focused,
showing the other soloists that, even in the cathedral acoustic, it was
possible to enunciate clearly and to ride above the full weight of the
orchestra and choir. Fine theologian as
he may have been, Cardinal Newman was no poet; yet this performance reminded us
that the power of great music, performed with conviction and passion, can
transform the most leaden words into an authentic spiritual experience.
Andrew Bennett
(An edited version of this review
appeared in the Darlington
and Stockton Times on 30 November 2012)
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