The Dream of Gerontius

It looked for a while like pathological laziness might win out, but ultimately a few wise words of encouragement from a persuasive person convinced me I really must take myself to the Sydney Symphony's Dream of Gerontius. And so I did, if only to prevent myself feeling guilty at having failed to take advantage of any offerings in the orchestra's Elgar festival, led by my candidate for Most Adorable Maestro Ever, one Vladimir Ashkenazy, whose tenure as the SSO's Principal Conductor and Artistic Advisor begins next year.

I have an intermittent and patchy relationship with Elgar, but like most such musical relationships in my life, when I drop the attitude and actually listen, I generally emerge the happier for it. I don't suppose my knees will ever weaken at his very name, but that's hardly mandatory. And hidden within such a half-hearted assessment is the fact that Elgar is actually responsible for one of my most loved non-operatic vocal works (the Sea Pictures). The Sea Pictures were performed earlier in the festival, in fact. I didn't go. Why? Because I'm an idiot. The least I could do was compensate with Gerontius, which even featured the same mezzo soprano, Lilli Paasikivi. In fact, the one doesn't really compensate the other, and I still regret missing the Sea Pictures, but Gerontius was a good experience. 

Yes, a good experience. I'm probably expected to use the language of transcendence now, but that's something one ought to be honest about, and the truth is that it didn't transport me as fully as I thought it might. There is much in Gerontius that is moving and beautiful, and I shan't for a second deny its power or its exquisite agony, but I can't lay claim to a deep and spiritual experience, or even to the musical simulation of one. That's neither dismissal or criticism, but rather a simple admission of fact, and it probably has more to do with me than with Elgar. I am a godless heathen, but I have felt closer to the purported deity in other music than I did in this, and when discussion of music moves into this realm, no amount of theorising can account for personal response. 

The best, most delighted part of my personal response, as it turned out, was not for the piece itself but the performance of it. I don't hear the SSO nearly as often as I ought, and when they play as magnificently as they did in Gerontius, I remember why I feel guilty about that. If this is the sound the SSO makes, then I need to spend more time in its company. The combined voices of the Sydney Philharmonia Choirs and TSO Chorus were no less gorgeous — indeed, despite my well known propensity to swoon for soloists, the chorus may just have been the vocal highlight of my evening. 

If I was going to swoon for a Gerontius soloist, however, it will be no surprise that I name Lilli Paasikivi as the swoonworthiest of the three. If for nothing else, I must express my admiration of Elgar for breaking with the convention of female voice casting, which dictates that soprano = angelic and mezzo = earthy and dangerous, and making his Angel a contralto instead. Lilli was resplendent in person and in voice, radiating divine love and benevolence. Her superb diction, graceful phrasing, opulent tone and warm, engaging stage manner added up to a persuasive angelic presence. Her wide, rippling vibrato might be troubling in other repertoire (or not) but here, it just enhanced the velvety texture of her voice. Also adding to the effect was the way the trailing sleeves of her dress occasionally caught the breeze of the airconditioning, giving the impression of wings. 

Alas, Gerontius himself was not quite so convincing. Mark Tucker has quite a lovely voice, but it frequently sounded stretched beyond its limits. A bit of grit and raw-edged passion is not unwelcome in a piece such as this, but that should be a question of vocal colouring rather than vocal difficulty. As it was, Tucker's occasional roughness, rather than intensifying the emotional impact of his singing, actually detracted from it. He has, however, a sweetness of tone which was pleasing in quieter passages and in broad terms, he's well suited to this sort of repertoire. But I couldn't help imagining Phillip Langridge in his place. David Wilson-Johnson was effective in his two solos, first a formidable priest and then a fervent Angel of the Agony. 

I was struck most of all by the unity of spirit which infused this performance. Musical coherence is one thing, but what made this Gerontius really take flight was the sense that maestro, orchestra and singers all seemed attuned to, and in harmony with, each other's conception — musical and otherwise — of the piece. Only Tucker's edginess was a little out of place, but as Gerontius is a confused, earthly newcomer to this heavenly realm, that's not inappropriate. 

It's curious. The longer I spend writing about this performance, the fonder my memory of it grows. A few more paragraphs and I expect I'd convince myself that I'd had a transcendant experience after all. The truth, however, is that I didn't. That doesn't mean, however, that it left me cold — I hope that's obvious. I'm very pleased to have met Gerontius, and particularly to have done so in a performance of such a high standard. It may not have unleashed a newfound passion for Elgar in me, but it has reinforced my existing affection — and along the way, it has increased my admiration of my adopted (if woefully neglected) orchestra, which is a happy circumstance indeed. 

I just wish I'd gone to hear the Sea Pictures. 

Comments

[marcellous]

Lilli Paasikivi's diction is a wonder, and almost everybody seems to comment on it. I think the secret lies in the consonants - a few of her diphthongs in Sea Pictures were a bit odd, but that doesn't seem to matter when the consonants are there. She must have a way of enunciating consonants without breaking the vocal line.

[david]

Have you heard ABC Classics historic artists series with Margreta Elkins singing the Sea Pictures? If not, I would recommend most stongly!!

[wanderer]

Agree agree (that's one for Lilli P and one for the orchestra/conductor) and as I also missed Sea Pictures, I think we count ourselves lucky to have heard her, and in such a good role for her voice and temperament, and yes, better English than the English.

I loved her wings too.

[wanderer]

...and agreed about Philip Langridge, he's still hanging around my head. It is very much a part for a Vere or a Grimes (a Pears). I'm thinking Skelton.

[Profiheld]

Wanderer,

I think Skelton has sung Gerontius before. At least his wesite has it listed.

Still, if his website is accurate, he's currently in Zurich singing Siegmund in Walkuere so being in two places at once would have proven difficult.

I missed the SSO performance, but have heard Ben Heppner sing it (albeit a while back) with the BSO under James Levine.

It was fairly spectacular!

Mr Skelton is slated for Grimes with OA next season as well as Grimes with ENO earlier in the year and a reprise of Streetcar in Melbourne. I should like to get along to one or other of those, as I would imagine (as you seem to as well) that his Grimes might be something special.

We shall but see.

[Sarah]

I agree that Stuart would be well worth hearing as Gerontius. And his Grimes is one of the things I'm most looking forward to next season.

[Dave]

Sarah, why no post about Richard Hickox dying today?? I'm in shock http://www.theaustralian.news.com.au/story/0,25197,24699942-2702,00.html

[Sarah]

I heard a few hours ago but wanted to wait until I saw it reported officially. I can't believe it either. Too awful.

[Ixkorr Oxkarr]

If anyone recorded ABC's broadcast of this performance, and would be willing to share a copy, please send me a note at the address below. I couldn't tape it because I was in the audience. Very nice performance, I had never heard the piece before -- it was fascinating to detect the teases of Enigma Variations.

Thanks
--IO
oxkarrus@yahoo.com

[Michael]

I heard Lilli Paasikivi in the Chausson Poeme del la mer etc etc. She was amazing!, like Yvonne Minton and Jesse Norman with the dress sense of Sumi Jo

[Michael]

PS

Christel Goltz died last week, that was pretty tragic too

[Jo Field]

As a member of the TSO Chorus singing in this performance I can say it was a tremendous experience. For anyone who is interested the performance has been recorded and is to be released as a CD as part of the ABC Classics Series.I don't have a date of release. Thanks Jo

[Jo Field]

As a member of the TSO Chorus singing in this performance I can say it was a tremendous experience. For anyone who is interested the performance has been recorded and is to be released as a CD as part of the ABC Classics Series.I don't have a date of release. Thanks Jo