Falstaff: Royal Opera House Saturday 19th May

Falstaff

Music, G. Verdi:  Libretto, A Boito

A new production at Royal Opera House, Covent Garden.

Dedicated to the Memory of Dietrich Fischer-Dieskau

Conductor Daniele Gatti
Sir John Falstaff Ambrogio Maestri
Alice Ford Ana Martínez
Ford Dalibor Jenis
Meg Page Kai Rüütel
Mistress Quickly Marie-Nicole Lemieux
Nannetta Amanda Forsythe
Fenton Joel Prieto
Dr Caius Carlo Bosi
Bardolph Alasdair Elliott
Pistol Lukas Jakobski
Chorus Royal Opera Chorus
Orchestra Orchestra of the Royal Opera House

Falstaff is Verdi’s last Opera. It’s first performed in 1893 – almost half a century after his first triumph with Nabucco in 1842.

It’s only Verdi’s second comedy. His first Un giorno di regno had bombed in La Scala in Milan in 1840. For Falstaff Verdi once again collaborated with Arrigo Boito – himself a composer of opera who had worked with Verdi on Otello (1885-7). Boito ingeniously used parts of the plot of the Merry Wives of Windsor uniting it with parts of the Henriad (Henry IV I&II) where Falstaff first appeared to popular acclaim and where Shakespeare gives fullest expression to Falstaff’s complex character and vivid personality.

With Falstaff it might be argued that Shakespeare’s towering genius creates a character that might actually be alive. Falstaff is so vivid he towers over the plays where there are no mean numbers of characters that are given many great lines. Falstaff is different – as real a personality as any to bestride the stage or grace History.  And yet he’s only an evocation; a man literally made from words. That’s the summation of Shakespeare’s genius. Verdi’s genius – and Boito’s too – is to distil this essence.

Verdi’s Falstaff is literally a musical match that equals in every aspect the intensity of Shakespeare’s Sir John Falstaff – losing nothing – indeed maybe adding. The Fugue at the end of the opera with its cris de cœur from Falstaff’s big heart – Tutti gabbati! (Everyone’s duped) –  reflects in a single phrase the essence of both Shakespeare’s and Verdi’s Falstaff; but it reflects the reality of what gets caught in theatre’s mirror of unreality.

To willingly believe a character you know is merely a character and no more than an assemblage of words, to believe him to be real means we are indeed all duped – if only by genius!

Last night Ambrogio Maestri gave us an account of Falstaff that did honour to its dedication to the late, great Fisher-Dieskau. He was gently funny and giant of an ass full of the endearing weaknesses of character and vanities we all own. I loved all the women: Anna Maria Martinez gave us a velvety, mischievous Alice Ford; Kai Ruttel such a sleek sexy but  satin- tongued, beguiling, Meg; Marie-Nicole Lemieux a lovely, roundly full throated Mistress Quickly and Amanda Forsythe a Lind-like Nanneta.

I feel guilty not to go on, with a proper mention of each member of the cast one by one – but in essence this opera is an ensemble piece. It only works if everyone sings better than just well. And they all just did – all through, all night. It was a really remarkable evening and the cast obviously love this production and enjoy performing in it.

This production reset in the 1950s from the 1590s – itself a convenient mirror image – works well because it’s well thought out. Robert Carsen knows the nous of Jonathan Miller in achieving this seamlessly. I adored the sense of the women picking items from their menu and excitedly responding to the dishes arriving at the table intrinsically within their singing. Brilliant!  A vast John Falstaff reading a paper in bed; Pistol taking a pair of silk-undies in the confusion of Act II’s end – these were delightful. The tempo of all the action was brisk. Even the horse worked well.

Normally actors are wary of playing against children and animals. At the beginning of Act III setting the delicious melancholia of Falstaff’s self-pity against the horse’s laconic indifference as his munches his hay…that really added something that wasn’t even there in the music.

A great production is full of such nice touches and this is a great production.

For those love costumes Brigitte Reiffenstuel’s magnificent designs should win some award.  Paul Steinberg’s sets were clever, simple and practical. They had wit that harmonised beautifully with the 1950s setting and made me at least remember my childhood.

So there you have it for once I can say that the ticket price for the Royal opera House’s Falstaff is a price worth paying for a night you will long remember and long after smile to recall.

This production gives us something that does justice to the genius of Shakespeare and Verdi. And when all is said and done that is what makes great Art.


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Tides & Times

Tides & Times: The US election analysis continues….

There is a tide in the affairs of men.Which, taken at the flood, leads on to fortune;Omitted, all the voyage of their life Is bound in shallows and in miseries. On such a full sea are we now afloat – and we must take the current when it serves, or lose our ventures.

Brutus, Julius Caesar……William Shakespeare.

Since last time there have been some very significant developments which a worth noting in passing. Both Newt Gingrich and Ron Paul have ended their campaigns. This means that all the primaries over the past three weeks have been a Romney only affair although the GOP affair with Romney isn’t too darn hot……

Continued……..Of Tides & Times….

 

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Iestyn Davies: Wigmore Hall, 7th May 2012

 

Iestyn Davies  (counter-tenor) and Malcolm Martineau (Piano)

 

The counterrenor voice has been restored in my lifetime to its proper place in performance.

In that same time the number of countertenors, their vocal ranges extended and their atristy enhanced has grown from generation to generation. Iestyn Davies is one of the best I’ve ever heard. His voice is just perfect: a creamy tone without any of the distortion of vibrato or sharpness or hooting-sounds in the upper registers and a lower register that is warm, deep and rich. He is also an extremely intelligent performer and singer and brings huge sense to all he sings. This is great, great artistry.

There are many who shy away from this voice or who are suspicious of it. Listen to Davies and allow the beauty of his voice to persuade you to the joyous sound of the countertenor.

Alfred Deller was the first countertenor I heard on a record. He recorded in the 1950s and specialised in the baroque music that was only then returning into fashion.

I was played it in by a school friend over a Sunday tea. I had to buy the record when I could afford to – Purcell’s Come Ye Sons of Art – one of the odes he set for the Birthday of Queen Mary II.It wasn’t actually the first time I’d heard a countertenor as the lead singer Nigel in our small school choir at Presentation College was a countertenor.

I’ve always found it a special sound – mournful, beautiful, sweet and haunting. Since then I’ve heard many and loved most not least James Bowman who not only brought to the Opera repertoire Britten’s Oberon amongst many characters but lovingly sang the Lament of David over Jonathan in Handel’s Saul.

Every time I hear Bowman’s version of ‘O fatal day’ it brings tears to my eyes

Recently, I heard Iestyn Davies sing Oberon at the ENO in a production which I absolutely hated. But he gave such a great performance. He immediately stood out as amongst the finest countertenor voices I had heard.

He has the most remarkable tone, a great range and a beautiful vocal technique.

Last night at the Wigmore Hall he allowed us to see the delicacy, depth, colour and dramatic range of his wonderful voice. And yet delightfully modest, disdaining faux theatrics his understated performance held us with his intense and intelligent singing.

The programme has three pieces of Purcell. He sang these with all the lucid artistry he always brings to the baroque and  the early classical genre. The vocal decoration, trills and such – just perfection. Then there were three newly commissioned songs by Nico Muhly. The last of these, ‘The bitter Withy’ I thought achingly beautiful. And Davies sang it with such touch and feeling. The first half ended with the Tippet songs for Ariel. They are really amongst Tippet’s finest small scale pieces:  reflectively soulful and sadly humorous rather like the sprite himself

The second half comprised five Bach Spiritual Songs to which Davies brought a contemplative intensity that reminded me of Janet Baker.  These were followed by a Schubert and Brahms which I thought were finely rendered with tender feelings. I didn’t know the Brahams Alte Liebe (Old Love) a really gorgeous gem. Howels – ‘Oh my deir hert’ and three Britten songs followed of which the Ash Grove I think was just perfectly performed.

That did bring a tear to my eye

Davies is a delight to watch sing. He is effacing but commanding. He doesn’t wave his arms and hands about but instead uses his voice entirely to make the music live.

Goodness, if you’ve never heard him you simply must. It was a cracking night. One couldn’t ask for more. A blackbird might hardly sing more joyfully than Davies last night:

‘Twas there while the blackbird was joyfully singing; I first met my dear one, the joy of my heart;Around us for gladness the bluebells were ringing; Ah! then little thought I how soon we should part.

 

The link below is to Davies Singing the opening of Handel’s Ode for the Birthday of Queen Anne – Eternal source of light Divine.. He is divine….

Iestyn Davies: \”Eternal Source of Light Divine.\” Handel

 

 

 

 

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LSO & Ladies of the chorus…. Barbican 29th April 2012

London Symphnoy Orchestra and Ladies of the Chorus.

Debussy: Three Nocturnes

Szymanowski: Violin Concerto No I  soloist  Christian Tetzlaff

Scriabin: Poem of Ecstasy (Symphony No 4)

Audiences differ from nmusical occasion to mucsical occasion. It’s a commonplace observation but as I rarely travel to purely orchestral occasions last Sunday’s audience seemed rather different to me….no worse or better for being so…different nevertheless.

The Barbican Hall for those of you who have never been is one of London’s finest. It was built for what Americans often refer to as ‘the Symphony’. Given that it was I’m uncertain as to why when ever there is an orchestra playing they now insist upon adding an apron to bring the players forward into the auditorium. I cannot believe it much affects the acoustic but it does create weird sight lines of bottoms backs and feet should you have the misfortune of choosing the wrong seat.

I didn’t know the two latter pieces but I do know Debussy’s Nocturnes. They’re elusive, impressionist pieces: the first dreamily belongs to that half-world between sleeping and waking where realities are blurred into languid sweeps of melodic waves that break and trail off in distant dissonances. Somehow they make me think of Freud….which may itself be a Freudian slip. The Second is a racy, familiar structure of noisy rhythms and sounds  that echoes from fairs and circuses. It sounds much later than its date of composition in 1899…belonging in voice to the twentieth rather than nineteenth century. The third with its chorus of mysterious sirens, evoked cliff roads and a black Buick twisting and turning along them…film noire… black and white movies…cars full of cigarette smoke and ladies in shimmering Lamé evening dresses…racing along the wild coastlines with wilder seas crashing over rocks…..

Szymanowski was born in the Ukraine in 1882. The violin concerto composed in 1916 belongs to the twentieth century repertoire of classical music…full of Stravinsky-like rhythms and vivid orchestral colours and loud crescendos full of echoing percussion. And it includes some extraordinarily imaginative and demanding writing for violin.  Christian Tetzlaff played with a compelling energy and was entirely one with the musical score. He is absolutely fantastic virtuoso. He set the hall alight with his wonderful playing. That said the concerto itself did not light my fire…. it is not a piece I could not imagine listening to at home.

Finally after the interval came the short Symphony by Alexander Scriabin. It opens with a voluptuous flute motif that is finally picked up by the entire woodwind. The development of this phrase is halted by imperious trupmets that lead to the second motif. These two play back and forth, swirling and striving to be heard over one another until the entire orchestra builds into rivals plucking away at the tonalities of two different themes. Only occasionally does the entire orchestra come together in a shockingly loud crescendo which double repeats before it too fades away and back to the haunting opening phrases in an entirely minor key. Alexander Scriabin was born into an aristocratic family in Moscow. Sasha was shy and unsociable the programme notes say. He writes outside the aristocratic box but has the assurance of composition of a true aristocrat of music. The Scriabin was brilliantly played but honesty the piece over-plyed its cleverness. And how one sometimes just longed for the oomph of a fabulous tune….

I enjoyed the night….I was glad…as Perry might say…improved undoubtedly but….there you have it…but…the three letter word that marks the boundary between Purgatory and Heaven.

 

 

 

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Palin to Significance……

.The latest on the American election looks at Sarah Palin’s intervention in Indiana and the problems the GOP faces in the up-coming campaign against President Obama.

 

Palin to Significance continues here…….

 

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Letter to America…. this week the Electoral college

The Cost of Graduating from College

In the lull in the campaign now that Mitt Romney has all but sewn up the GOP nomination it’s an opportunity to take a look at the actual mechanism that really elects US Presidents…

Continue here…..The Electoral College & the Math of a Majority

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May Day…May Day…..



Of due dates and the soft shoe shuffle of Theresa May.


I worked for a firm of Patent Attorneys for many years….more indeed than I care to recall with any degree of accuracy.

The business of patents, trademarks, designs and copyright is over-run by dates:  dates for paying fees; dates for responding to official actions from Patent offices; dates for grant of patents and trademarks; dates of their term; date for payment of renewal fees. Intellectual property might properly be summarised as a business of dates by legal design.

One of the first thing I learnt was always check a date with the issuing authority if you are unsure and the instruction is unclear or open to the slightest of doubts.

The second was to ask for this is writing and to ask for any response in writing and whether or not that appeared to also send a summary of your understanding of their requirement to them.

Belt and braces – you could just never be too cautious or too careful with dates.

My firm dealt with patent offices throughout the world but most business passed either through the UK Patent Office or the European Patent Office (EPO).

I mention because when dealing with any dates from the EPO or indeed any of the continental patent authorities it was absolutely standard that, unlike, our Common Law practice, their long established Roman Law practice had been to take the last day of response to the EPO or its judicial appeals tribunal as the numeral anniversary day regardless of intervening dates – even leap-days.

Thus an office action issued on 17 January for a 3 month response might in UK practice come due on midnight of 16 April but in Europe the standard practice would be midnight on 17th.  The practice is an extension of that principle of Roman Law that doubt always favours a litigant.

The Home Office – one of the great offices of State – must surely have lawyers who know something of these matters? And what cpmpetent Home Secretary might be induced to act upon the basis of advice over a due date without seeking a belt and braces confirmation from a court or in its absence asking for the same? An email would suffice…

This speaks to a world where our politicians for all they know, know much less of the world than they think they know.

Is this a matter for resignation – yes, but only on the part of a public wearied by over-briefed but under-trained politicians posing as Masters of the Universe and Mistresses of Detail.

Nor has this been Mrs May first run-in with legal practice. Two words come to mind: Brodie Clark.

But it seems never taught to hesitate where wise men fear to tread, Mrs May‘s fancy shoes just walked straight into another legal mess.

As our very own Oliver Hardy in Downing Street May ruefully observe –  that’s another fine mess you got me in….
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Beyond Our Ken – Londoners have every reason to vote for Livingstone for Mayor.


A mouthful of Sugar makes Livingstone more than palatable:

Although I’m conscientious about my civic responsibilities and I always vote I’ll be utterly frank when I admit this London Mayor’s election hasn’t really engaged me.

Perhaps I’m too old to be excited by Boris. Perhaps I’m too jaded to be tickled by Ken. I’m certainly too sensible to be persuaded by Mr Brian Paddick – though he’s is a nice enough gay man and there are those straight and gay who reason that to be enough for another gay man to vote for someone.

All in all I was going to vote on 4th May and leave matters there….

Then, earlier this week Lord Sugar tweeted his 100,000 followers and advised them (and the rest of us) not to vote for Ken Livingstone in the London Mayoralty elections.

The one thing you can say about Lord Sugar, without running the risk of being sued for slander, is that he is never short of an opinion. And the social media ensure he’s never short of an opportunity to voice it.

Lord Sugar suffers that delusion of most self-made entrepreneurs that running government –  local, regional, national or supranational –  is rather like running a successful business.

Sugar misunderstands that voters are not as easily cowed as employees.

That’s one of the blessings of the secret ballot.

I’m sure Lord Sugar would like all his employees to vote as he directed. Lord Sugar likes to be thought of as an unerring Cassandra with a unique gift for picking winners – always the sorcerer to some dumb apprentice. But I’m afraid when Lord Sugar speaks he does not always utter the sweetest truths.

But I’m pleased he spoke out because it made me consider what’s really on offer to those Londoners who may decide to use their vote in ten days or so…

I say may vote, for, despite the coalition government’s promises to the contrary, London remains a region where there are tens of thousands fewer voters on the electoral register than are entitled to vote.

This disenfranchisement of the poor underclass is one of the gravest failures of the political class to Democracy of my lifetime.

Neither Mayor Johnson nor the Deputy Prime Minister Clegg and his cohort of constitutional reformers have done a single thing to change that two years after they assured us that once the Electoral Reform Act was made a statute it would become their highest priority. But they spend fine words with a profligate’s ease.

The polls are telling us that Boris Johnson the blonde charmer of city hall will win tidily on second preferences. He may well. Whether he will deserve to do so is a matter of opinion.

Boris Johnson has a big personality. He is likeable. He likes to clown about. He likes to be noticed.

Personally, I’m as cold to Mr Johnson’s artless charms as his artless charms are stranger to any sustained achievement – save this political celebrity.

Boris has a talent to amuse and that’s a talent in its way. In the dull world of politics it shines brightly but often to no great effect.  Take for example take Miss Anne Widdecombe’s dancing her way not the nation’s affections; or George Galloway in the Big Brother house playing pussycat; or Lord Boothby who made a fine career out of his serial infidelities with discretion; and not least Sir Cyril Smith who made being big into a big asset.

I’ve read Johnson is ferociously intelligent and that he plays the buffoon in part to hide his cleverness. Playing the fool is playground stuff. I’d rather Johnson as Mayor just played straight with the electorate. And after four years it should be straightforward to see how he has used his remarkable gifts on our behalves.

On becoming mayor he immediately banned alcohol on the Tubes (not altogether successfully judging from my ride home from the Barbican to Oval last Saturday).
There’s the end of bendy-buses and the new route master….

With Private Sponsorship from Barclays Bank he has created a network of rental bikes – that isn’t integrated into Oyster and the integrated transport system.

He took out half London’s bus lanes and painted them blue and called them cycle lanes; he abolished the Charging Zone in leafy Chelsea and Kensington and points West.

He sacked one police chief and replaced him with one forced to resign.

He has made a number of dubious appointments to his personal office; and there, I’m afraid I’ve run out of things to say.

However, on that basis of this thin guel he has decided to run for a second term by offering us more….

Now, I’ll be the first to admit that Boris Johnson came in at a difficult moment in 2008 but  his four years might be best summarised as neither making things much better nor much worse.

And I’m wholly unclear what it is he wants to do in the next 4 years beyond preside over the opening of the projects which Livingstone started and for which Livingstone obtained the funding.

One way or  another this will be a landmark election for London.
 

It will almost certainly be the last time – lose or win- that Ken Livingstone will play a leading role in a metropolitan election in this city.

Livingstone and Greater London have been synonyms since 1981.

Along the way there have been ups and downs. Sometimes London felt used by Livingstone and sometimes it was the other way around.

And if Ken’s relationship with Londoners has been fraught, his relationship with the Labour Party has been almost dysfunctional.

Famously Ken Livingstone was leader of the GLC in high pomp of Thatcher’s premiership. Livingstone did not actually win the election in 1981 as the Labour Leader. Andrew McIntosh was the then leader of the Labour Group and having won the election with a small majority in London, the new boys of the left engineered a sort palace coup…

I think before he was elected in Camden, Livingstone had been a Labour councillor in Lambeth in the early 1970s – the days before Ted Knight, a former Trotskyite, became the Labour council leader.

Ken’s coup in the GLC coincided with Knight’s time in Lambeth.

The loony Left was the label employed as these two rose to public prominence. The soubriquets ‘Red Ken’ and ‘Red Ted’ were coined by the savvy Murdoch Press and they stuck.

And today it is to that past that the press and Lord Sugar return our attention. But that rhetorical simplification short changes history and fact.

Ken went on to be an London MP and represented Brent for a decade before Blair’s even more famous victory in 1997. The then New Labour leadership viewed Livingstone with deep suspicion as the embodiment of all Labour had done wrong in the 1980s.

Strangely, and I was wholly out of sympathy with those politics that pervaded Labour then, strangely that actually was quite wrong of Blair and Brown  and very unfair on Ken.

If the politics Livingstone had played to get to the top were not pretty he turned out to be rather good a running things….perhaps even gifted.

Fare’s Fair changed London Transport forever and for the better and had Livingstone not got under the skin of Mrs Thatcher and her acolytes on the right it might well have been that his transport policies would have been adopted as the future model by all governments.

He was simply right when the rest of them were wrong. Blinded by blind prejudice instead the conservatives turned transport policy into the blind alley of privatisations – buses first; railways later and always making things worse for passengers – or customers as we become known in the Thatcherite ‘New-Speak’.
So, when the Labour Government found no place for Ken he turned back to London; and the government turned on him.

Livingstone resigned from Parliament with noisy éclat.

The press saw their chance to give Blair’s New Labour a bloody nose. To great popular acclaim – led by the tabloid press – most notably the Evening Standard and Sun – he ran as an Independent and was elected London’s first Mayor in 2000.

Once again he proved much better at the job than many in the then cabinet were at theirs.

The network of new buses I cynically thought wouldn’t work.  I was wrong. It’s brilliant and has changed London. From the East London line to the Overground; from Cross Rail to the Olympics; from city Hall with its strange amalgamation of an Assembly and executive Mayor Livingstone proved able to make something out of nothing very much.

Livingstone ran again (once more under a grateful Labour banner) and won again in 2004 before finally losing out to another political maverick, Boris Johnson, in 2008. The consensus then was that Livingstone had indeed been a good mayor for London and for Labour.

And so far as the facts are allowed to trump opinion we Londoners should not forget that it’s Livingstone’s name should be on the East London Line; the Overground; the Olympics and Cross Rail. They were and are his legacy.

But fair-weather friends in the press have since changed their minds about Ken. Once again, Ken is vilified as an out of touch extremist who couldn’t run a whelk stall. And his left wing past is once again used against him.

We all have pasts and some of us have to live them down. So let it be with Livingstone.

His past mistakes also included Fares Fair; supporting the unpopular cause of Gay rights and allowing Gay Pride to take place on the Embankment Gardens; being for negotiating with the IRA for peace in Ireland…as well as many other unfashionable causes we now all embrace.

He was also a critic of the Private/ Public Partnerships that are now vilified by coalition ministers.

He has got things wrong but in office he’s been pragmatic doer who has worked with the grain of reality to achieve bigger goals.

And that is why effective politicians are better at running governments than business men.

Ken Livingstone was a good mayor last time and actually he did rather well for London… particularly in the second term…He also that made a bit of a hodgepodge of a devolution work better than it might have in less political hands than his…

And what, I ask myself, beyond blue bike lanes, is so great about Boris?

It’s true, electing him Mayor didn’t bring an end to life on the planet or the world as we know it but his re-election will be more of this mediocre.

And if this election is an exercise in re-cycling….then I’d rather take a spin with Ken than listen to four more years of spin from Boris.

Based on experience let’s hope we can all say on 4th May when asked who is London’s mayor….It’s Mr Livingstone, I presume….

Yes, We can Vote for Ken Livingstone

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Jack Ashley R.I.P.

Jack Ashley was one of the finest men to serve in Parliament in my lifetime.

He lit the political world with his integrity; fired many with disabilities by his ability to rise above his; and bathed us all in a gentle light of his enlightenment.

Now, as he garners the tributes from the great and good, he will wear their crowns with the modesty he brought to a life of service.

I offer his family and friends all condolence knowing their greatest comfort will be the warm esteem in which he was held by the widest public.

May flights of Angels guide him to his rest….

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A Dream of a Gerontius…..Barbican Hall 14th Septmeber 2012

Edward Elgar: The Dream of Gerontius

Barbican Hall 14th September 2012 Birmingham Symphony Orchestra: Edward Gardner

Soloists: Sarah Connolly (Angel) Robert Murray (Gerontius) James Rutherford (Priest/Angel of the Agony)

Angel\’s farewell….

In the link above Janet Baker sings the Angel’s Farewell –  and you might like to listen while you read.

When Blessed John Henry Newman wrote the poem Dream of Gerontius in the 1860s he already knew about making dangerous spiritual journeys. By then he had abandoned the Anglican Church; the Oxford Movement and many of his friends: he had converted to being a Roman Catholic. He was quite a catch for the only recently legalised Roman Church. He became a priest, an Oratorian and was finally made a cardinal by Leo XIII –   and although a cardinal he never held episcopal status.

The poem is a reflection on the passage of  (Every)man from Death to Judgement and on to Purgatory. It is filled with the many pieties associated with post-Tridentine Catholicism; it is also deeply influenced by Dante and by styles English epic post-romantic poetry. It has a self conscoius grandiosity which might even be thought Miltonic though its introspections are more deeply personally felt and more akin to say Tennyson’s  ’In Memoriam‘.

Dvorak was the first composer to consider setting the poem to music. But he gave up upon it. The cardinal died in 1891 and Elgar stared work upon setting a reduced version of the poem in 1898. It was completed in 1900 almost a decade after Newman’s death.

Gerontius was popular in Catholic schools and angelic Hymn of praise ‘Praise to the Holiest in the Height’ is taken from the poem and was much sung in schools and parishes when I was a lad. I then first read the poem maybe when I was fifteen. I found it indigestible and difficult. I was nearer seventeen when I first heard a recording of it – Janet Baker as the Angel in my mind, but minds play tricks. To be honest I thought it ponderous.

Elgar, himself a Roman Catholic, wasn’t daunted by the words and ideas of Newman and finds many musical novelties to express them…and the sequence with the Demons leading into the final explosive chorus of Praise to the Holiest is by any standards an extraordinary musical achievement. But we are still at the beginning of the twentieth century and the words themselves and the religious freight they carried prevented performance of Gerontius in the three choirs festival until 1910. Many Anglican cathedrals would not perform it unless the words were changed.

Edward Gardener conducted a staggeringly good account of Elgar’s Oratorio last Saturday. If left all those listening in the hall – deeply, deeply moved. The prelude and some of the beautifully crafted early passages ‘rouse thee my fainting soul’ are remarkable and they come into a wonderful crescendo of feeling as Gerontius sings ‘novissima hora est’ and the priest ‘go forth upon thy journey Christian soul.’ But the recurrent echoes of Gerontius soulful cry from the heart ‘Santus fortis, Santus Deus’ haunt the fading sounds as part one ends. Robert Murray sang wonderfully clearly and James Rutherford’s deep sonorous priest  was full of warmth in tone and meaning.

The Second Part leads directly to the Soul (as Gernotius is now dead) and the Angel in a discourse as Gerontius approaches the place of judgement. Some of these passages are wonderfully scored with rich uses of percussions and woodwind and haunting brass. And as ever with Elgar it’s the tugging legato of the sweeping strings which give his orchestrations their unmistakable sound and colour.

Sarah Connolly, particularly towards the end brought out wonderful tonality in her upper and lower register which I’ve never found in her voice before. At times, as warm water on ice, she melted the air with great beauty. She was magnificent. Murray never failed to rise to meet her excellence but surely the palm must go to Edward Gardner. He drew such delicacy and feelings from the hautning quiet and such passion and glorious shouting from the great blasting Praise to the Holiest which then echoes back accross the remainder of the work like some fading Angelic glory, fading, fading, fading, far away into the far distance of Heaven. Yet as Gernotius himself says ‘take me away to the lowest deep, there let me be….lone not forlorn…’ and Newman’s vision of Pugatory has real delicacy;wistful beauty and an embraceable pathos.

It was a night to remember and it won’t be forgotten. A little more grown up these days, I’ve so got to like Elgar more and more….perhaps I should brave returning to the Apostles …hoping that unlike Elijah I find great beauty there. But Gerontius is magnificent and last Saturday I heard Elgar’s easy genius call out over the age.

Praise to the Holiest….treat yourself and listen

 

 

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