BBC SSO: The Dream of Gerontius, Paisley review: 'sensational singing'
BBC SSO: The Dream of Gerontius, Paisley Abbey ★★★★
An ecclesiastical palace like Paisley Abbey may seem the perfect location for Elgar’s The Dream of Gerontius, that pseudo-Wagnerian setting of John Henry Newman’s epic poem where a dying soul journeys towards his momentary glimpse of God before being consigned to Purgatory. But when physical limitations funnel the choruses into the furthest reaches of the Abbey’s narrow chancel this plays havoc with the balance. Sunday’s Usher Hall repeat will naturally fare better.
It was nigh-on impossible to sense any telling distinction or visceral power from the combined forces of the Huddersfield Choral Society and RCS Chamber Choir in Thursday’s performance. With the BBC SSO and a splendid trio of soloists enjoying the natural immediacy of the foreground, what was visually a choral powerhouse ranked behind sounded as if it was singing from a distant planet. There was little conductor Ryan Wigglesworth could have done other than make the best of what he had.
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Which he mostly did in a steady, markedly unimpassioned vision of the work. The Prelude unfolded slowly but purposefully - a process the listener had to acclimatise to - which set an often stoical tone for the ensuing journey. The Abbey acoustics did play a positive role in adding an ethereal glow to the orchestral warmth, and the proximity of the soloists brought an enticing intimacy to the spiritual theatre of the piece.
In the central tenor role of Gerontius, Brenden Patrick Gunnell struck an effective balance between anguished vulnerability and radiant intimacy. Bass Neal Davies cut a shuddering presence as the Priest and Angel of the Agony. But the most sensational singing came from Beth Taylor, whose performance as the Angel revealed a mezzo soprano of immense power, melting quality and electrifying musicality. Janet Baker made this role her own. Taylor is a natural successor.
The BBC SSO and Ryan Wigglesworth perform The Dream of Gerontius at the Usher Hall, Edinburgh, on 2 March
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