The Dream of Gerontius - A Review by Gareth Buckett

I deliberately took some time before setting down my thoughts and reactions to the Dream of Gerontius concert, partly to wait until the euphoria had settled to manageable proportions and partly to ask some of the participants their feelings about the evening and see if they matched those of a mere listener. It had all the unspoken sparkle of a success before a note was played; you could just tell from the way the chorus held itself, with more poise, more confidence and more determination. The evening had a buzz of excitement in excess of any previous Cranbrook concert I had attended and no doubt much of that derived from the presence of Philip Langridge. Certainly the audience were all mentioning him in every sentence they spoke! It was the nearest thing I had seen to a rock concert atmosphere in 8t Dunstan's. However, a concert of Elgar relies on music making, not just atmosphere. The Elgar/Bach arrangement was a curious beast which got going after a slightly apprehensive start; inevitably it sounded like a cross between Brahms Four and the Last Night of the Proms but it served as a good warm-up for the excellent Sinfonia.

The main work subsequently set off with a quiet grip and crackling sense of purpose. The chorus (with reinforcements for this occasion) were set well back but the balance was effective and their sound was much firmer and with better projection than the previous concert. They looked-and sounded- absolutely on top of the notes and with comparatively few moments of exposed part -writing to contend with, they projected their share of the score with real determination and professionalism. The soloists were outstanding. Understandably, Philip Langridge received the most rapt attention. His tone was honed but strong, combining a lieder singer's sense of intimate drama and word-painting with larger -scale emotions that the role of Gerontius demands. The second part, which can so easily outstay its welcome in the wrong performance, gripped the audience and Philip Langridge's cry near the end 'Take me away, and in the lowest deep there let me be' had this seasoned non- churchgoer swallowing very hard. Louise Winter and James Rutherford were excellent, both fully involved and singing with great tonal accuracy and strength but never playing to the gallery. The performance was one of those rare occasions where every thing sounded right and a listener could just let go in the confident knowledge that the music was going to work its magic. Congratulations to Malcolm Riley for holding such a large sweeping body of notes all together and again to the top-class orchestra. Any reservations? - none that would register against such it successful evening. I looked to either side of me from time to time throughout the music and I saw quite a few of the audience in tears. That probably says a lot more than I can.”

May 2007