Final concerts of the season are often a time to reflect on past success and anticipate all that is new. Tonight’s concert in Utrecht, the last in the current Avrotros Friday Concert season, did just that, amassing large forces and a dazzling array of soloists for Elgar’s The Dream of Gerontius, arguably one of the finest works in the British choral repertoire and the pinnacle of every British choral society’s calendar. Combining the best of British oratorio with the intricate storytelling and characterisation of opera, this dramatic tale, based on a text by John Henry Newman, depicts man’s final journey as he begs God to cleanse his soul and provide safe passage to heaven. The challenge then facing the Netherlands Radio Philharmonic Orchestra and their Chief Conductor Karina Canellakis – to plunge the emotional depths and confront death’s anguish head on. Joined by the Groot Omroepkoor of just over 70 singers, and with many empty seats in the hall, would they have the gravitas to embark upon that dramatic journey?
A tentative orchestral opening quickly set the tone and, while building to an impressive climax, all felt rather hurried. Cellos and violas found space to let the important dotted rhythm linger, but this was not always the case with the motif passed around. Elgar’s Gerontius is more a marathon than a sprint; a very real journey to be endured.
The past couple of months have been busy for the Groot Omroepkoor with two stunning Mahler Festival performances at the Concertgebouw very firmly under their belt. A busy time too for choirmaster Edward Ananian-Cooper, drafted in just two weeks ago. Tonight sadly, was not quite so compelling; with the rather hectic tempo, they faced an uphill battle enunciating the tricky English text, especially in the contrapuntal passages. “Be merciful” lacked a degree of sincerity and their demonic “Ha! Ha!”s never quite found that venomous flame. However, there were moments where they shone and “Glory to Him” was most convincing.
Sebastian Kohlhepp’s Gerontius initially offered promise, but he too struggled to find time for the ebb and flow of the quintessentially English phrasing, and his “Pray for me” felt rushed. Following the English text however, proved challenging, and even the Dutch surtitles had problems keeping pace. Waiting in the wings, Roderick Williams’ commanding “Go forth” eventually brought much needed gravitas. Canellakis had no choice but to follow the seasoned British baritone who lives and breathes Elgar’s music, battling valiantly against the combined forces to restrain the tempo. Rarely has “Through Christ Our Lord” witnessed such a fray.
Part 2 seemed calmer. Karen Cargill’s Angel fully embraced the dramatic narrative of Newman’s text. Her gentle, nurturing ruminations not only questioned, but provoked the Soul. Moments of great intimacy and dramatic climaxes interchanged seamlessly, laying bare the “bitterness of death”. Her hugely impressive dynamic range, especially in her lower register, challenged all. Williams’ Angel of the Agony provided the emotional highpoint of the evening. The raw emotion in his repeated “Jesu!”, pleading for tormented souls to be spared, and “bid them come to Thee” was never in dispute. The Soul’s journey through purgatory was nigh.
In reply, Kohlhepp’s “Take me away” initially summoned an intense world of forlorn pain, but rather disappointingly, dramatic tension waned almost instantly. With balance issues marring the choir’s final “Lord, Thou hast been our refuge”, we were left with what might have been. The Dutch audience though were undeterred and rapturous applause ensued. Canellakis looked visibly moved.
