United Kingdom Mendelssohn, Elijah: Masabane Cecilia Rangwanasha (soprano), Dame Sarah Connolly (mezzo-soprano), Allan Clayton (tenor), Gerald Finlay (bass), London Symphony Refrain (refrain director: Mariana Rosa), The Guildhall Singers, London Symphony Orchestra / Sir Antonio Pappano (conductor). Barbican Corridor, London. 28.1.2024. (JR)
Elijah was commissioned by the Birmingham Competition in 1845: he was the go-to alternative when an oratorio was wanted, having 9 years earlier established his credentials with the vastly widespread St. Paul. Elijah proved much more widespread: the reception on the pageant was ecstatic and the viewers known as for a number of repeats of a number of the highlights.
Set in Outdated Testomony occasions (Mendelssohn was Jewish, although baptised), when the Kingdom of Israel took to worshipping the Canaanite deity Baal, Elijah describes the efforts of God’s prophet Elijah to revive the previous faith, and his final triumph as a messianic messenger.
The London Symphony Orchestra is successfully between Chief Conductors. Sir Simon Rattle has given his final live performance within the Barbican Corridor as outgoing Chief Conductor, Sir Antonio Pappano begins formally subsequent season so we’re in a kind of limbo: Pappano is Chief Conductor Designate. His already and obvious shut rapport with members of the orchestra augurs very effectively for the long run: we will be intrigued to see what symphonic fare Pappano tackles first.
Elijah requires all the talents of an opera conductor, liaising with soloists, orchestra and refrain, typically virtually concurrently. That is, after all, certainly one of Pappano’s strengths and because of this, this was a efficiency of the very highest high quality and one for the document books. Fortunately, it was recorded for future broadcast on Marquee TV (from twenty second February) and for future basic launch on LSO Dwell.
Let me begin with the soloists, solely certainly one of who wants a bit of extra introduction than the others (family names). Masabane Cecilia Rangwanasha is a South African soprano who gained the Music Prize on the BBC Cardiff Singer of the World Competitors and is a former Jette Parker Younger Artist of the Royal Opera Home, Covent Backyard. Rangwanasha is now in demand by main opera homes; her star is rising very quick. Rangwanasha has a stupendous, robust, radiant, at occasions glittering voice, with crystal-clear prime notes: her ‘Hear ye, O Israel’ was beautiful. My solely tiny quibble is a bent, sometimes, to make use of vibrato which isn’t acceptable for the work and one or two upward swoops. Rangwanasha has nice stage presence, and we will be seeing and listening to her a terrific deal within the years to return.
Dame Sarah Connolly is not any stranger to our live performance levels, and a Nationwide Treasure. Not solely was she dressed completely for the a part of Angel and Queen however her wealthy mezzo-soprano voice can be in fantastic fettle: Connolly exudes bloom and heat.
Gerald Finley warmed up slightly slowly to his half because the prophet Elijah and saved his voice protected to be prepared for his many lengthy and delightful arias. Evidently, they have been all delivered exquisitely. ‘It’s sufficient’ was filled with pathos.
The soloist who stole the present, for me, was tenor Allan Clayton (a former Peter Grimes at Covent Backyard). The vocal line fitted his voice to a T, a pity he didn’t have that a lot to sing, I simply needed him to go and on.
The luxurious and large London Symphony Refrain have been on kind, impeccable dynamics very effectively managed all through, phrases clear, most entries actual. Soprano prime notes have been spot on, sometimes I’d have appreciated extra quantity from the tenors. The choruses have been rousing and brought quick. The descriptions of the chariots and the whirlwinds was most enjoyable and dramatic. The three calls to Baal displayed their fantastic graduated management of ranges of fortissimo. The Guildhall Singers, a bunch of eight vocal college students from the Guildhall Faculty of Music & Drama, offered the small refrain: they have been marvellous, particularly Zoe Jackson and Abbie Ward. The youth, Ewan Christian, Head Chorister of Westminster Cathedral Choir, had a stupendous treble voice and confirmed no signal of nerves in entrance of a packed-out Barbican Corridor.
The orchestra have been strong throughout the board, speeding strings, strident and incisive brass interjections and insistent timpani: solely as soon as too loud and drowning out the refrain.
The viewers appeared to incorporate loads of educated singers from the novice choruses of the House Counties who had come to listen to this widespread work sung and performed on the highest degree. They weren’t dissatisfied, the applause was – simply as on the Birmingham Competition all these years in the past – lengthy and ecstatic. Pappano seemed happy, as have been the 2 refrain masters. An uplifting Elijah to recollect.
John Rhodes
