London Philharmonic Orchestra & Choir, Clare College Choir, Sir Mark Elder

Royal Festival Hall, 26 January 2013

The Rest is Noise has started its run on the South Bank, and The Dream of Gerontius may seem an unlikely inclusion, given the surrounding attractions of Schoenberg, Berg, Webern and Stravinsky. However, there is a good reason for including it, as it marks a complete break with earlier English oratorio and points the way to more fluid and psychologically charged creations.

Performing the work in a concert hall is always problematic. The hushed opening really needs a large cathedral, or the Bayreuth pit, to ensure the sense of sound emanating from nothing, but it does have the advantage of allowing us to hear the orchestration with great clarity.

The combined forces under Mark Elder approached the work as a passionate narrative, and one marked by far more confidence than is often the case. There was an innocence to Paul Groves’ Gerontius which moved us away from a man wracked with guilt and worry to one open to the love of God and delighting in the joy of heaven. In this he was superbly supported by the confidence of Sarah Connelly’s Angel who leads him with great gentleness towards his final resting place.

James Rutherford was a late substitute for Brindley Sherratt but is no stranger to the part, bringing authority and emotional truth.

Mark Elder’s handling of the orchestra builds large, almost Wagnerian, paragraphs with endless waves of sound. The constant slight rubato was very effective in building tension and bridging towards a climax. The organ in the Royal Festival Hall may not yet be fully installed but the parts that are there were put to good use.

While the text from the soloists was clear and crisp, the chorus lost definition as it grew louder. This was a pity as their quieter singing carried without problem. They were able not only to overwhelm us with the opening of Praise to the Holiest but to end it with effectively even more volume than they started.

The silent film which was played at the start, with some disconcerting changes in light levels, was interesting but might pall somewhat if we have to see if before every concert in the series. BH