Prom 59: Elgar’s The Dream of Gerontius (31.08.22)

[Nick Armstrong]

The 'Praise to the Holiest' sequence scampered through a bit quickly for my taste

Oh I love some real impetus in that section, probably having learned the work from Britten’s performance - I much prefer it to blaze rather than be ceremonial

[bluestateprommer]

This was a very fine performance of Gerontius indeed, to my less-than-experienced ears, as I'm not at all an aficionado of the work (have heard it live but once, admittedly more than most Americans, and the Boult recording eons ago). Allan Clayton was Allan Clayton, of course, i.e. terrific. Jamie Barton did very well herself, but then I am sort of morally obliged to defend my compatriots here ;) . From a quick on-line search, I have not found a prior Gerontius performance that features Jamie B., so this Prom may well have been her first time singing the work. Thought that I'd heard a bit of a wobble in James Platt's voice, and a few scrambled/transposed words, but no harm done.

On oddoneout's comment on the chorus, the "politeness" factor may partly have been due to the chorus being masked (*), per Martin Handley's remarks after the performance. I'm totally with masking the chorus in the interests of their safety as well as those of everyone within "firing range" on stage, where, in one of the few statements that I can quote by Peter Gelb, "public safety comes before COVID fatigue". Choral works seem to have done very well so far in this summer's Proms (granted that I need to catch up on a few, like Mahler 2 and Brahms' German Requiem).

(*) Erratum: chorus not masked, at least per this Twitter picture from a rehearsal:

https://twitter.com/LPOrchestra/status/1565024031996264448/photo/1

[jonfan]

Oh I love some real impetus in that section, probably having learned the work from Britten’s performance - I much prefer it to blaze rather than be ceremonial

Agreed, but if you go too fast in the verses it’s not possible to achieve an excitement near the end when the choir can’t do an effective accelerando as they are going as fast as possible already.

[Nick Armstrong]

Agreed, but if you go too fast in the verses it’s not possible to achieve an excitement near the end when the choir can’t do an effective accelerando as they are going as fast as possible already.

Fair point! I shall definitely be listening again and shall have an ear out for this!

[jonfan]

On oddoneout's comment on the chorus, the "politeness" factor may partly have been due to the chorus being masked, per Martin Handley's remarks after the performance. I'm totally with masking the chorus in the interests of their safety as well as those of everyone within "firing range" on stage, where, in one of the few statements that I can quote by Peter Gelb, "public safety comes before COVID fatigue". Choral works seem to have done very well so far in this summer's Proms (granted that I need to catch up on a few, like Mahler 2 and Brahms' German Requiem).

I think the Atlantic got in the way here as MH said the ‘massed chorus’.

[bluestateprommer]

Unless I'm going mad, or blind, or both (not impossible!) they weren't. Nor were they in Edinburgh for the RSNO/Davis et al performance on Sunday. (Gerontii - or whatever the plural is - are clearly like buses).

Vintage LPO sound tonight. Such clarity and cleanness.

Good to see Keith Waterhouse back in the perc tonight after a while away from all the LPO concerts I've seen recently. Joined the LPO in 1972! Surely the current longest standing member of a major UK orchestra. Wonder if he played Gerontius under Boult or his like?

I stand (and sit) corrected, as I misunderstood the word "massed" as "masked" over BBC Sounds. Sounds as though you were at the RAH, so you can speak with authority.

[Eine Alpensinfonie]

Good to see Keith Waterhouse back in the perc tonight after a while away from all the LPO concerts I've seen recently. Joined the LPO in 1972! Surely the current longest standing member of a major UK orchestra.

That's a remarkable achievement. It almost equals Sidonie Goossens' 51-year record as BBC SO harpist.

[Simon B]

That's a remarkable achievement. It almost equals Sidonie Goossens' 51-year record as BBC SO harpist.

I am evidently going mad after all. Keith Millar!

Plus I've managed to inadvertently delete my original message. Apart from that, a festival of competence. Apologies.

[Prommer]

Definitely no masked chorus (hardly any masks at all now, full stop, even in the Arena...) - I know, I was there!

[Prommer]

A VERY fine performance. Amazingly clear and powerful singing from the choruses - excellent diction.

Some blistering playing from the LPO, but real warmth when required too. Quite lovely and well judged.

Very well conducted (smilingly at points, with his chorus) by Edward Gardner. Knows the piece inside out (no score etc)

Only quibble point is the choice of soloists. Jamie Barton lacked volume (at least in the Hall), and produced some uncomfortably American vowel sounds which were sprung like traps ("My work is done/ My task is o’er....My Father gave/ In charge to me/ This child of earth/ E’en from its birth..."). She sang one or more of the Alleluias like she was in a gospel choir.

Allan Clayton is made for this music - but his interpretation is still evolving. James Platt likewise, some slightly mushy diction notwithstanding.

8.5 out of 10.

[Prommer]

A VERY fine performance. Amazingly clear and powerful singing from the choruses - excellent diction.

Some blistering playing from the LPO, but real warmth when required too. Quite lovely and well judged.

Very well conducted (smilingly at points, with his chorus) by Edward Gardner. Knows the piece inside out (no score etc)

Only quibble point is the choice of soloists. Jamie Barton lacked volume (at least in the Hall), and produced some uncomfortably American vowel sounds which were sprung like traps ("My work is done/ My task is o’er....My Father gave/ In charge to me/ This child of earth/ E’en from its birth..."). She sang one or more of the Alleluias like she was in a gospel choir.

Allan Clayton is made for this music - but his interpretation is still evolving. James Platt likewise, some slightly mushy diction notwithstanding.

8.5 out of 10.

And here (not for the first time) is this…

https://youtu.be/sWuGbFQsELQ

[EnemyoftheStoat]

This was a very fine performance of Gerontius indeed, to my less-than-experienced ears, as I'm not at all an aficionado of the work (have heard it live but once, admittedly more than most Americans, and the Boult recording eons ago). Allan Clayton was Allan Clayton, of course, i.e. terrific. Jamie Barton did very well herself, but then I am sort of morally obliged to defend my compatriots here ;) . From a quick on-line search, I have not found a prior Gerontius performance that features Jamie B., so this Prom may well have been her first time singing the work. Thought that I'd heard a bit of a wobble in James Platt's voice, and a few scrambled/transposed words, but no harm done.

On oddoneout's comment on the chorus, the "politeness" factor may partly have been due to the chorus being masked (*), per Martin Handley's remarks after the performance. I'm totally with masking the chorus in the interests of their safety as well as those of everyone within "firing range" on stage, where, in one of the few statements that I can quote by Peter Gelb, "public safety comes before COVID fatigue". Choral works seem to have done very well so far in this summer's Proms (granted that I need to catch up on a few, like Mahler 2 and Brahms' German Requiem).

(*) Erratum: chorus not masked, at least per this Twitter picture from a rehearsal:



https://twitter.com/LPOrchestra/stat...264448/photo/1

Correct. No masks were involved, and I speak as one of the performers; I "experienced" the performance from the front row of the chorus.

I dare say there's never a performance of DOG where somebody afterwards doesn't complain that the demons were too polite.

[edashtav]

Oh I love some real impetus in that section, probably having learned the work from Britten’s performance - I much prefer it to blaze rather than be ceremonial

[edashtav]

I dare say there's never a performance of DOG where somebody afterwards doesn't complain that the demons were too polite.

[edashtav]

A VERY fine performance. Amazingly clear and powerful singing from the choruses - excellent diction.

Some blistering playing from the LPO, but real warmth when required too. Quite lovely and well judged.

Very well conducted (smilingly at points, with his chorus) by Edward Gardner. Knows the piece inside out (no score etc)

Only quibble point is the choice of soloists. Jamie Barton lacked volume (at least in the Hall), and produced some uncomfortably American vowel sounds which were sprung like traps ("My work is done/ My task is o’er....My Father gave/ In charge to me/ This child of earth/ E’en from its birth..."). She sang one or more of the Alleluias like she was in a gospel choir.

Allan Clayton is made for this music - but his interpretation is still evolving. James Platt likewise, some slightly mushy diction notwithstanding.

8.5 out of 10.

I agree but feel a tad more generous: 9/ 10