THE DREAM OF GERONTIUS
The Waltham Singers at Chelmsford Cathedral
“This is the best of me,” - words of Ruskin quoted by Elgar at the end of the manuscript. Andrew Fardell and the Waltham Singers made a strong case in support of this assessment.
It is a great work, both in its conception and in the forces required.
As in their Lenten concert earlier this year, the instrumental accompaniment was provided by Ensemble Orquesta.
From the Prelude, with its fortissimo climaxes, it was clear that Elgar’s vision of the soul’s journey to the afterlife was in safe hands.
The first entry of the choir – as the Assistants, the friends who pray with him at the last – was beautifully judged. The women [the Angelicals] sang the contemplative passages to great effect - “O Generous Love”. And the final prayers of those left behind “Spare him, Lord” were movingly done. But they could not hope to replicate the huge choral societies that Elgar had in mind, and the “sullen howl” of the Demons struggled to make much impact against the thundering brass and percussion.
Jeremy White’s bass brought gravitas to the Priest and the repeated exhortations of the Angel of the Agony. Rebecca Afonwy-Jones’s pure mezzo was perfect for the Angel; this was a truly uplifting performance – her phrasing of the Alleluia and the moving passage in which she speaks of the fleeting sight of the Almighty were wonderfully expressive. As Gerontius, Joshua Ellicott was superb, a committed, dramatic interpretation, with every word audible, his virile tenor cutting thrillingly through the chorus and the orchestra.
photograph by Martin Cuthbert