Wigmore Hall, 16 April 2014

Holy Week can often bring unusual musical offerings and that was true of last night at Wigmore Hall when we heard settings for Tenebrae, by Charpentier and Couperin, from members of Les Talens Lyriques. During the early 18^th century the Paris theatres closed for Lent and singers were at something of a loose end, so a convent rather enterprisingly established a compromise between a service and a concert. Celebrated composers set the liturgical passages for singers from the opera, with considerable freedom. Music was given within the convent under liturgical circumstnaces but with all the panache of the opera house.

Most interesting, because so unexpected, is the elaboration of single letters. The verses from Jeremiah all start with a single Hebrew letter, and this is developed into a mini-aria or duet by the composer, often more elaborate than the setting of the ensuing narrative.

The result, while rather inflexible in structure, allowed for many delicious moments as the evening progressed. In Charpentier’s Seconde lecon du jeudi the scoring of prophetae tui viderunt provides a small explosion in an otherwise introspective setting, and the concluding Jerusalem convertere is very beautiful.

This was set for two sopranos who tempered their voices to the calmness of the setting. When Amel Brahim-Djelloul sang Septieme repons H117 we heard the sudden flowering of a far more operatic sound. Similarly, Judith van Wanroji brought a Mozartian warmth to Cinquiene repons H115.

After the interval, Couperin’s longer settings proved also to be rather more florid in approach.

All of the Charpentier had been accompanied from the chamber organ by Christophe Rousset, but for the Couperin setting he alternated sections from both harpsichord and organ. Francois Joubert-Caillet was the sensitive viola da gamba continuo.

A rather brief evening, but one which was warmly received and opened a window into a world we rarely encounter.

Barbican Hall, 12 April 2014

Before the start of The Apostles, Helen Petchey, Honorary Secretary of the Elgar Society, presented the Elgar Society Medal to Sir Andrew Davis. This was warmly applauded and recognised his outstanding support of the composer over many years, including his championing of the restored Third Symphony fifteen years ago. In replying to the presentation he hoped that He would continue to be an Apostle for the composer for many years to come.

The Apostles, even more than The Kingdom, has suffered simply because the writing is not Gerontius, and it was a pity in many ways that this performance was following on so closely after last week’s outstanding presentation of Gerontius essentially by the same forces. There was, however, a great deal to enjoy and value here.

Too often The Apostles can take time to catch fire, but there was no problem here with the Prologue breathing the essence of Elgar from the start. The constant shifts of mood in the orchestration were very finely caught, and there was never any sense of triumphalism even in more extrovert passages. A great deal hangs on the humanity of the characters involved, and here Sarah Connolly’s Mary Magdalene and Brindley Sherratt’s Judas were convincing in their psychological shading as much as their more overt emotions. Gerald Finlay and Paul Groves presented less complex characters, but the sense of ordinary men struggling with vast events was always present.

By contrast Nicole Cabell’s angel and Mary seemed to be in a different world, floating above the men and at times removed from them. Jacques Imbrailo brings us a Jesus at once human and yet removed emotionally from the turmoil around him. Elgar does not attempt to investigate Jesus’ mental state or passion, only to see it through the eyes of the Apostles.

The BBC Symphony Chorus has a less demanding task in The Apostles than in Gerontius, often singing in individual sections, but they characterised the different crowds with ease. Orchestral detail was finely controlled and the organ was evident at key points.

Another fine evening. A pity we did not get The Kingdom as well!

 Barbican Hall, 6 April 2014

The muscular humanity of Stuart Skelton’s Gerontius informs every aspect of Sir Andrew Davis’ approach to work as revealed last night. Where cathedral performances can seem distant and ethereal there was an imminence about the reading which was powerfully moving throughout, even shattering at times in its intensity. Stuart Skelton brings us a man close to death but still fully aware of his own humanity, and it is this which carries through into the second part. The pain of Take me away mirrors that of In thine own agony from the first part. His powerful, yet beautifully sung, performance was matched by the radiance of Sarah Connelly’s Angel. No need here for a cautious approach to a fearful soul, her strength matched his and the outpouring of alleluias was thrilling.

David Soar was a young sounding Angel in both parts but matched the humanity of the others with a depth of feeling of his own.

The BBC Symphony Chorus was finely focussed throughout, with many telling moments. The end of Praise to the Holiest seemed more powerful that its explosive opening. The chorus of Demons started quite conventionally but became ever more clipped and aggressive as it progressed, dying to a pathetic dispossessed. The gently rolling finale brought subtle waves of sound which ebbed and flowed around the soul of Gerontius.

In the Barbican Hall it is very difficult to create a real ppp so Sir Andrew did not try. What he was able to do instead was create a range of dynamic intensity which was always dramatically apt. The opening of the first part was more autobiographical than spiritual, and that of the second reflective, almost charming in its relaxation.

We have been privileged to hear a number of very fine performances of Gerontius recently but this will surely be recalled as one of the finest.

It was being recorded for broadcast on 21 April. Catch it if you can live or via iPlayer or website.

Next Saturday, The Apostles.