16th and 23rd October 2003
I was so enthusiastic about Sakari Oramo's approach to Gerontius a few years ago that I was anticipating something equally revelatory for the anniversary performance of The Apostles on the 16th of October. Quite why I felt disappointed at the outcome is difficult to quantify. There were certainly some problems of balance. Despite the quality of the CBSO's playing there were many passages, particularly for woodwind, which did not carry with clarity over the strings and the combined choral forces of the City of Birmingham Choir and CBSO Chorus often lacked cutting edge. Why was it considered necessary to double the choir given the strength of the CBSO Chorus by themselves? Of the soloists Lisa Milne was a fine Angel but Louise Winter was miscast as Mary, over-emoting and frequently mangling the musical line. John Daszak was a virile if rather hard-edged John and Matthew Best's Judas was uncomfortably introspective.
I began to wonder if it was the work itself that was at fault rather than the performers, but my mind was put at rest a week later when I heard it again under David Temple with the Crouch End Festival Chorus at The Barbican. They really do have to be one of the finest choruses performing today, giving The Apostles the life, emotional truth and clarity which I had looked for in vain in Birmingham. In many ways the Forest Philharmonic Orchestra are not technically as assured as the CBSO but their phrasing and response to David Temple was exemplary and deeply moving. Soloists were also far happier both as a balanced group of voices and as individuals. Bibi Heal soared effortlessly as the Angel and Julia Batchelor found the subtle balance between emotion and beauty of line for Mary. James Oxley's lyric tenor was ideal for John and the narrator, and Roderick Earle brought authority to Judas. The chorus managed to produce a wide range of effects without pulling the score about. I particularly liked the gently demonic effect of Let us fill ourselves with costly wine.
And the organ? Elgar uses the organ more than simply to underpin key moments. It adds an authority and texture to passages which are far less effective if it is missing. In Birmingham I could see that the Klais was being played. Benjamin Bayl was at the en fenetre console but I heard not a note! At the Barbican there was an electronic instrument, whose speakers were visible on either side of the chorus. Malcolm Hicks was at the console and the organ spoke with power and nobility exactly as Elgar required. Theoretically this should have been the other way round!
Hopefully when we get to The Kingdom in two years time the Birmingham forces will return to the splendid form they found in Gerontius.
