Birmingham Symphony Hall, 8 September 2015
The 25th anniversary season was launched last night with the Vienna Philharmonic Orchestra under Sir Simon Rattle in Elgar’s The Dream of Gerontius. The same forces will be giving a repeat performance on Friday at the Proms, but given a choice to hear it in London or Birmingham there was no hesitation – it had to be Birmingham. I have been covering performances since the hall opened and it is still the finest orchestral venue in the country, and last night proved the point yet again.
I can’t recall the first part of Gerontius as compellingly performed or as musically beautiful. The radiance of the string sound and the total sense of an orchestra playing as a single instrument was encapsulated as I have never heard before. Added to this, Sir Simon Rattle’s sensitivity to the score, his loving attention to detail, both orchestral and choral was obvious throughout. The prelude was slow unfolding but with a sombre sense of inevitability which held throughout the first half. The work was being performed without an interval so it is possible that Proms listeners may not pick up the subtle difference between the two halves. Where the intensity of Gerontius’ pain and anxiety informed the first half, there was a genuine sense of calm within the second which carried through even to the Demon’s chorus and the meeting with God. It was as if, on this occasion, there was no doubt as to the outcome of Gerontius’ judgement – he was saved and the score supported the joy inherent in this.
Essential to that sense of joy was the magnificent singing of the BBC Proms Youth Choir under Simon Halsey. The text was surprisingly clear, given the large numbers involved, and the clarity of sound often overwhelming. Go forth and Praise to the Holiest were spine-tingling in their intensity, but the hushed moments were equally impressive with ppps held easily without losing impact.
Toby Spence is a virile Gerontius, more secure in his faith musically than the text might indicate and he rose to key moments with ease. Firmly I believe was heroically challenging and Take me away was less a cry for help than a realisation of the glory of the presence of his Lord.
In the two bass roles Roderick Williams brought not only nobility but a nuance to each which allowed for individual characterisation. The angel of the agony seemed to have a more humane, gentler tone than the grandeur of the Priest.
Magdalena Kozena as the Guardian Angel was more problematic. The overriding difficulty was with the text. Where all the other singers gave us great clarity, her singing, given her Czech background, was clouded and words often did not carry. Added to this the bottom range of the voice did not seem particularly strong. While there were many moments of great beauty – her emphasis on One Moment and the start of Softly and gently – too often we seemed to be hearing an indication of what the part was about rather than the part itself. Her approach was also highly operatic with a large amount of physical movement which did not seem in keeping with the score. In any other performance her singing may have been perfectly acceptable, but in the given circumstances, with so much around her that was as close to perfection as we are likely to get, it created an imbalance which even Rattle and the VPO could not overcome. After such a fine first half, the second simply did not quite live up to the promise.
It will be interesting to see how she comes across in the Royal Albert Hall. I suspect listeners at home may get a better impression that those listening live in the hall.
We shall see.