It was to have been Andris Nelsons’ first-ever ‘Gerontius’, and his entry into the gallery of CBSO principal conductors who have directed the work before him. But family priorities, with the sickness of his infant daughter, quite rightly took sway, and he reluctantly decided to withdraw.<\/p>\n As the luck of scheduling diaries would have it, principal guest Gardner’s other hat as music director of English National Opera stood Gardner’s tempi, flowing effortlessly between sections, were bravely There were two incidents I’d never noticed before in five decades of Two of the three soloists were disappointing: tenor Robert Murray, a The night belonged to the CBSO, its Chorus and Gardner, and an amazing CM<\/p>\n","protected":false},"excerpt":{"rendered":" CBSO at Symphony Hall\u00a0 April 12 2012\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Edward Gardner\u00a0\u00a0\u00a0\u00a0 This post-Easter presentation of Elgar’s Dream of Gerontius, repeated at the Barbican two days later, was always going to be special, and so it turned out, if not for the … Continue reading ![\"\"](\"https:\/\/www.larkreviews.wickedlemon.co.uk\/wp-content\/uploads\/2012\/04\/ed-gard-2-150x150.jpg\")
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\nThis post-Easter presentation of Elgar’s Dream of Gerontius,<\/em> repeated at the Barbican two days later, was always going to be special, and so it turned out, if not for the reasons previously envisaged.<\/p>\n
\nconductor Edward Gardner was free to step into the breach, and what a
\nmemorable job he made of it, this only his own second ‘Gerontius’.<\/p>\n
\nhim in good stead here, bringing an instinctive sense of drama and
\npacing. On Good Friday the Mariinsky Theatre’s Parsifal<\/em> had brought
\nGerontius<\/em> to mind; here it was the other way round.<\/p>\n
\nbroad, not sanctimoniously so as in the case of ancient interpreters,
\nbut clearly envisioned, aware of their goals. Within these lavish
\nparagraphs he was able to summon so much detail, whether from the
\nperennially remarkable CBSO Chorus (and how fresh and youthful they
\nsounded where necessary!) or from the responsive and supple orchestra
\nitself.<\/p>\n
\nloving the work, but Gardner’s acuity brought them out: the suspenseful
\ntimpani roll over a prolonged organ pedal at the end of Praise to the<\/em>
\nHoliest<\/em>, and the shriek from piccolos and other woodwind as the Soul
\nof Gerontius glimpses the searing perfection of God for the minutest
\ninstant before gladly consigning himself to Purgatory.<\/p>\n
\nlate replacement for the indisposed Toby Spence, delivered beautiful
\nvocal tone and intelligence of diction, but little of the anguished
\nmessage of Cardinal Newman’s text; Sarah Connolly’s Angel, somewhat
\nharsh of timbre, began with a quiet radiance but later failed to
\nconsole; but James Rutherford was in his customary commanding,
\nauthoritative form as the Priest despatching Gerontius into the
\nafterworld, and as the awesome Angel of the Agony interceding for him
\nas judgement approaches.<\/p>\n
\nminute-plus of silence followed the performance. That must have sent
\nthe live BBC broadcasters into their own personal little purgatory,
\nuntil the applause at last erupted.<\/p>\n