Elgar’s The Dream of Gerontius, Op. 38
Some personal observations on recordings of the work
Part 2. Modern Recordings (post-1975)
by John Quinn
This article originally appeared on MusicWeb in 2007 in connection with the 150th anniversary of the birth of Elgar and I updated it first in 2014, when we marked the 80th anniversary of the death of the composer in 1934, and then again in 2020. Now is a good time to further update the survey. For this latest revision all the recordings are considered in chronological order.
Complete Recordings: 1975 to date
Having drawn something of an arbitrary line at the year 1975, I classify the remaining recordings as “non-historic”. In several cases, I comment only briefly on the recordings because MusicWeb has published a more detailed review of the recording in question
Sir Adrian Boult, 1975
This recording was the one for which Elgar enthusiasts had been waiting with no little impatience for many years. At last, in 1975, Sir Adrian Boult was invited to record the work for EMI. He had a very noted exponent of the role of the Angel in Helen Watts and the bass soloist was Robert Lloyd. For the role of Gerontius the choice was a controversial one: the Swedish tenor, Nicolai Gedda. I recall that Gedda’s performance drew mixed notices at the time but, according to Michael Kennedy’s authoritative biography of Boult, the conductor himself was pleased with the choice, describing Gedda as “Alpha plus”. In a letter to the producer, Christopher Bishop, again quoted by Kennedy, Boult thanked Bishop for his ‘choice of and responsibility for the soloists, including the brilliant recruitment of an unlikely foreigner.’
In listening to Gedda, I don’t have the reservations about his English pronunciation that I do where Kim Borg is concerned. Sometimes the vowels sound a little unnaturally stressed, but overall Gedda is good in this respect. He’s eloquent in his first solo, though I find him a touch mannered at ‘Rouse thee, my fainting soul.’ He’s powerful, but also lyrical, in ‘Sanctus fortis’ but, on the other hand, the aria doesn’t quite seem to flow. When we get to ‘I can no more’ Gedda displays a wide range of expression and dynamics but in the passage beginning at ‘O Jesu, help!’ the music does seem to be pulled about too much. The employment of mezza voce at ‘Novissima hora est’ is excellent.
In the opening solo of Part Two Gedda produces some lovely sounds but I do wonder if his approach doesn’t sound just a little studied. The same comment applies to portions of his contribution to the dialogue with the Angel and though ‘Take me away’ begins thrillingly the body of the solo seems a bit on the slow side, but whether this is down to Gedda, to Boult or to the two of them in alliance is open to question. Though Boult’s direction of the whole score bespeaks wisdom and understanding there are a number of occasions – and not all of them involve Gedda – when I feel the pulse is a little too steady.
Helen Watts offers a warm and highly satisfying portrayal of the Angel. She’s completely inside the role and I’d describe her interpretation as “central” in terms of its performing tradition – I mean that as a compliment. She displays intelligence and a reassuring presence during the Dialogue in Part Two though I feel that the interactions between Nash and Ripley and between Lewis and Baker offer more. Among felicitous moments, she’s gently radiant at ‘Thou shalt see thy Lord’ and she gives a dedicated account of the Farewell.
The third soloist is Robert Lloyd. He’s sonorous as the Priest, singing the solo with great nobility and expression. He’s also quite magnificent as the Angel of the Agony and, for me, he’s the pick of the singers that we’ve heard so far who essay both roles. Interestingly, in another letter to Christopher Bishop quoted by Michael Kennedy, Boult expressed regret, after the sessions, that two singers hadn’t been used. He commented, ‘the characters are so different, they should sound different too.’ Boult is quite right, but Robert Lloyd comes closer than any other bass soloist to proving him wrong.
Boult benefits from an excellent chorus (the London Philharmonic Choir) and orchestra (New Philharmonia). The orchestral strings deliver a hushed, translucent rendition of the Prelude to Part Two and throughout the recording the orchestral playing in all departments offers warmth or bite, as called for, and great distinction. The choir are fiery Demons. In that chorus they sing with punch and clarity. Later, the build up to ‘Praise to the Holiest’ is splendidly controlled and realised by the singers and, of course, by Boult himself, while the great outburst of praise at the start of the chorus, majestically paced by Boult, is a tremendous moment. As the chorus unfolds, the second section, from cue 89, where the choir divides into two, is delivered with exemplary clarity and when the pace hots up, from cue 95 onwards, the pacing strikes me as near-ideal. All of this is captured in a vintage 1970s EMI recording of great warmth and clarity for which that fine team of Christopher Bishop (producer) and Christopher Parker (engineer) must take full credit. The original CD set suffered from one criminal presentational flaw with Part One broken between the two discs immediately before ‘Proficiscere’. I think I’ve read somewhere that this horrible blunder was eradicated on subsequent reissues: I do hope so.
I’d describe Boult’s performance as “dedicated”. It bears the stamp of all his accumulated experience and wisdom but for all that the drama is somewhat underplayed. The reading, while very satisfying on many levels, doesn’t always set the pulse racing. For that reason I don’t believe it can be counted as first choice but it’s an essential chapter in the work’s discography.
Sir Alexander Gibson 1976
I finally caught up with this recording in 2016, forty years after it was made in Motherwell Civic Centre. Gibson’s conducting brings out the dramatic aspect of the music well but, as I commented in my review, I felt that there were several passages in which he pressed the music with a bit too much urgency. Robert Tear sings well as Gerontius and Benjamin Luxon is successful as the Angel of the Agony though, for my taste, less so as the Priest. The orchestral and choral contributions are good – I described the singing of the Scottish National Chorus as “resilient and committed”.
The chief merit of this set lies in the singing of Alfreda Hodgson. What a fine singer she was! Here she sings with great understanding and security. I don’t think she puts a foot wrong and not only did I enjoy her performance, I was also moved by it. The set is worth hearing for the reminder it offers of this notable British singer. Incidentally, I have heard a performance which Miss Hodgson gave at the Proms – in 1970, I think – when Gerontius was sung by John Mitchinson and Sir Adrian Boult conducted. She was very fine on that occasion, too. It would be very good news if a way could be found to issue that performance commercially.
Yevgeny Svetlanov 1983
In 2015 Melodiya made this recording available on CD as one of their 50th anniversary releases. The performance, recorded live in the Grand Hall of the Moscow Conservatory in April 1983, was an Anglo-Soviet affair. Svetlanov and the USSR State Symphony Orchestra were joined by British singers: the late Arthur Davies, Felicity Palmer, Norman Bailey and the London Symphony Chorus. This was, I believe, the work’s Russian premiere.
Both Arthur Davies and Felicity Palmer offer a good deal to admire, though Davies isn’t always as subtle as I’d like. You can hear both of them – and to better advantage – in the Hickox commercial recording discussed below. The LSO Chorus do an absolutely splendid job. The problem with this set is the uneven conducting of Yevgeny Svetlanov. I discussed this in some detail in my full review. I don’t doubt the conductor’s affection for the music but, on this evidence, he was insufficiently experienced in Elgarian style – it’s noticeable, for example, that many of the tempo nuances, so scrupulously marked by Elgar in the score, are overlooked. It’s an interesting performance to hear and it’s good that it’s available on CD, but it could never be a library choice.
Sir Simon Rattle, 1986
The Boult performance, discussed above, was issued in 1976 and ten years later EMI recorded yet another performance of the work. It’s worth noting that at the time this was the sixth studio recording of the work and all but one had been made by EMI or various predecessors of that company: a proud record. This time it was led by Simon Rattle with his City of Birmingham Symphony Orchestra and the CBSO Chorus. Three soloists with distinguished pedigrees were lined up. Dame Janet Baker and John Shirley-Quirk each made their second recording of the work while the Gerontius, singing the role for the first time on record, was the erstwhile pupil of Heddle Nash, John Mitchinson. Here I must declare an interest. I knew John Mitchinson personally for about the last 25 years of his life, during which time I enjoyed hearing him sing this role live on several occasions – including his last-ever performance of the role in November 2006, a performance in which I had the good fortune to take part. I think it’s interesting to note that Mitchinson probably essayed more of the heavy operatic tenor roles, including Wagner, than many of the other tenors under consideration here. During the 1980s and 1990s he was Rattle’s tenor of choice for such works as Das Lied von der Erde, Gurrelieder, and the Glagolitic Mass; in all. I understand they gave some 112 concerts together before John Mitchinson retired. Mitchinson is thus ideally equipped to be the most manly Gerontius on disc and he fulfils amply that expectation. However, he was also a noted and expert singer of art songs, with a particular expertise in the field of English song so, unsurprisingly, he was equally alive to the many sensitive nuances of the part, especially in Part Two.
His ‘Sanctus fortis’ is powerful and commanding but the more reflective pages of that solo are equally well realised. He fines down his voice admirably for ‘Novissima hora est’, floating the line admirably. All his experience as a character actor in opera comes to the fore in his singing during the opening paragraphs of Part Two and the cultivated nature of his singing brings a real distinction and many insights to his part in the Dialogue. Such passages as ‘But hark, a grand mysterious harmony’ are here shown to benefit from the resources of an heroic tenor and, predictably, he makes the start of ‘Take me away’ a thrilling yet anguished moment. At times on sustained notes the vibrato in his voice may distract some listeners though I don’t find it a problem and certainly the vibrato doesn’t affect the clarity of the notes in the way that, as we shall see, is a serious drawback in another recording.
Dame Janet had, by this time, over twenty years further experience as the Angel since recording it with Barbirolli and this shows in a reading of great maturity. However, there are trade-offs with the Barbirolli set. To my ears her voice had darkened over the intervening years and I also find a greater degree of freshness in her earlier traversal of the role. Nonetheless her portrayal of the Angel remains deeply satisfying and she has a unique way of warming such phrases as ‘You cannot now cherish a wish’ and ‘A presage falls upon thee.’ The Farewell is once again a deeply satisfying and consoling piece of singing. If, for me, her earlier rendition for Barbirolli remains preferable I still wouldn’t wish to be without this marvellous example of her singing what was a signature role in the full maturity of her career.
John Shirley-Quirk sings the bass roles with the eloquence and dignity that one came to expect from this fine singer.
Simon Rattle’s famed attention to detail is in evidence on this set and, in fact, in terms of sheer beauty and refinement of orchestral sound this is one of the finest recordings the work has received. The CBSO is on top form throughout, as is the CBSO Chorus, and in consequence all the Big Moments make their full impact. However, Rattle is equally successful in realising the more intimate sections of the score, such as a gossamer light account of the Part Two Prelude. There are some moments when perhaps I’d disagree gently with his choice of tempo but, overall, he seems to me to convey the shape and sweep of the work. It had been a little while since I’d heard this performance right through. Returning to it for this survey and hearing it pitted against the competition, as it were, I was agreeably surprised to be reminded how good it is overall.
Richard Hickox, 1988
I missed hearing this version until it was reissued in 2013 as part of the Chandos series, The Hickox Legacy (review). Hickox has the benefit of the LSO on top form and the LSO Chorus offers some of the best and most thrilling choral singing of this work on disc. The trademark Chandos sound is also a big plus for this set. Arthur Davies sings Gerontius. I don’t feel he evidences sufficient identification with the character he is portraying in Part I. There’s much to admire about his contribution in Part II. In the last analysis, however, I don’t think that his Gerontius, for all its merits, quite matches the leading exponents of the role, especially in terms of characterisation and feeling for the text. Felicity Palmer’s singing is impressive and expressive, not least her very good account of the Farewell. However, at certain key points, such as ‘There was a mortal’ I don’t feel she brings the same level of intensity to the music as, say, Sarah Connolly or Dame Janet Baker. Her portrayal of the Angel impressed me but didn’t move me. Much of Richard Hickox’s conducting is admirable and shows empathy with and understanding of the score. I have to admit, however, that I was disconcerted by his spacious treatment of several episodes. The performance has much to commend it. Though I’m glad to have heard it at last I don’t believe that it disturbs the leading recommendations
Vernon Handley, 1993
A long-awaited recording appeared in 1993 when Vernon Handley’s interpretation was set down. In a neat reversal of the 1945 Sargent recording, the Huddersfield Choral Society travelled to Liverpool to link up in Philharmonic Hall with the RLPO and its chorus. The soloists were Anthony Rolfe Johnson, Catherine Wyn-Rogers and Michael George. I commented in detail on that recording when it was reissued in 2003 (review). In summary, Anthony Rolfe-Johnson offers an excellent portrayal of Gerontius, albeit one that emphasises the lyrical aspects of the role but without short changing the dramatic moments. Catherine Wyn-Rogers is, perhaps, a little understated as the Angel and certainly doesn’t “do” as much with the words as do some of her rivals – or, indeed, Rolfe-Johnson. However, her portrayal is unaffected and sincere. Her subsequent appearances in the Andrew Davis DVD (see below) and Daniel Barenboim’s 2016 live audio recording (see below) do her greater justice.
Vernon Handley draws marvellous playing from the Royal Liverpool Philharmonic Orchestra and he’s very well served by the combined Liverpool and Huddersfield choirs – he probably has the largest chorus on disc. And the performance benefits hugely from Handley’s own attention to detail and his profound understanding of the work. I bought this recording when it first came out and I’ve always felt that it’s been underrated. As the performance is captured in very good sound, adding to the attractions of the set, this makes an excellent bargain recommendation.
Sir Andrew Davis, 1997 (DVD)
Sir Andrew Davis made a number of well-received recordings of music by Elgar, principally for Warner Classics, while he was Chief Conductor of the BBC Symphony Orchestra. For those who rightly admire his work in Elgar the absence of a CD version until quite recently made all the more valuable a DVD of a live performance given in St. Paul’s Cathedral, London, in November 1997. The recording is welcome also in that it captures Philip Langridge’s Gerontius, which is not otherwise represented on disc. The other two soloists, Catherine Wyn-Rogers and Alastair Miles have appeared in other recordings.
Again, this is a recording on which I commented in full when it was first released (review). Sir Andrew conducts a very convincing account of the score and Philip Langridge makes an excellent Gerontius. Catherine Wyn-Rogers also has much to offer, though I was a little less enthralled by the contributions of Alistair Miles. In 2008 the editors of The Penguin Guide rated this as ‘the finest recorded Gerontius ever.’ I certainly wouldn’t go that far, but it’s a considerable achievement. Until the 1968 performance led by Sir Adrian Boult was released in 2017 (see above) Sir Andrew’s was, as far as I’m aware, the only DVD release of the work to date. It’s a very recommendable version.
Sir Colin Davis, 2005
2006 saw the release of a live recording by Sir Colin Davis and the LSO, made in the previous December (LSO Live. LSO0083; subsequently licensed to Alto ALC1606). The soloists were David Rendall – a very late substitute for Ben Heppner – Anne Sofie von Otter and Alastair Miles. This reading need not detain us long, I’m afraid. It gives me no pleasure to say this as I admired Sir Colin greatly and his recordings of the three symphonies for the LSO Live label confirm him to be a sound Elgarian.
On this recording the orchestra and chorus both perform superbly and, one or two points excepted, I find Sir Colin’s interpretation convincing. What lets this performance down and rules it out of court is the contribution of the soloists. Alistair Miles is a hectoring Priest, projecting his voice too forcefully and, in so doing, the dignity and prayerfulness essential to the role elude him completely. On the DVD discussed above, which I saw before this CD came along, I thought his stentorian projection of this role might be explained by his positioning on the platform. However, I doubt that this applies to his performance in the Barbican. The role of the Angel of the Agony suits him better.
Anne Sofie von Otter sings well enough but I find her approach cool and objective and I really do wonder how well she understands the role of the Angel. However, the set’s real Achilles heel lies in the singing of David Rendall. Right from the start he sings with such a very wide and pronounced vibrato that, to be truthful, I often find it difficult to be sure of the precise pitch of the notes he is singing. This applies at all levels of volume and it makes listening to him a real trial. Perhaps the microphone was too closely placed, but if so, all that does is to exaggerate an unacceptable flaw in his singing. One must make allowance for the fact that he was a very late substitute – but that applies only to the first of the two concerts from which this recording is taken. I didn’t see Jim Pritchard’s concert review before I acquired this set. However, I note that he felt at the time that this performance of Gerontius should not be preserved on disc and I can only agree. In fairness I should add that Jim clearly enjoyed Miss von Otter’s performance more than I did.
Some time after I wrote these comments, I heard a broadcast of a very fine performance that Sir Colin conducted in Dresden in March 2010, on Palm Sunday. I thought that this performance would probably never see the light of day on disc because it was marred by some irresponsible idiot in the audience who, unbelievably, briefly broke into loud applause as Groves finished the ‘Sanctus fortis’. To my great delight, the performance was issued on CD in 2015 and the crass interruption had been edited out – presumably by splicing in a ‘take’ from the dress rehearsal. I think this performance better serves Sir Colin’s reputation as an interpreter of Gerontius and I comment on it in more detail later in this survey.
Sakari Oramo, 2006
This Birmingham recording was released to coincide with the Elgar 150th birthday weekend celebrations in 2007. It was an own-label release, issued by the City of Birmingham Symphony Orchestra. Sakari Oramo led his CBSO forces in a studio recording taped in Symphony Hall, Birmingham in August and September 2006 (review). Oramo’s soloists were Justin Lavender, Jane Irwin and Peter Rose. On listening yet again for this survey I came to the conclusion that I’m reluctant to recommend this set, though that’s a pity given the excellence of much of the enterprise. Both the playing and choral singing are superb and the recorded sound, which positively blossoms in the spacious acoustic of Symphony Hall, is very fine indeed. I like much of Sakari Oramo’s conducting too, though I do part company with him over the choice of tempi in ‘Praise to the Holiest’. Among the soloists Peter Rose is satisfactory and my admiration for Jane Irwin’s assumption of the Angel has, if anything, increased on listening to the recording again. But I’m afraid the Gerontius of Justin Lavender is a major stumbling block for me. Even more than when I first heard the set, I miss any real sense that he truly understands the spirituality behind the role. His lack of sensitivity is highlighted by his inattentiveness to soft dynamic markings. I’m afraid he simply won’t do. In the interests of balance, however, I ought to say that since I originally reviewed the set a very experienced critic, writing in another publication, has expressed the view that Lavender ‘offers nobility, variety, intelligence and understanding of his difficult part: he is always ‘inside’ it.’
Sir Mark Elder 2008
I thought that Sir Mark Elder’s 2005 reading at the Henry Wood Proms was something special (Seen and Heard review) and his subsequent studio recording does not disappoint. The American tenor, Paul Groves, is a most impressive Gerontius. Perhaps he was just a little more spontaneous in the 2005 live performance, which I’m sure I have read was his role debut, though one would not have known it. On the other hand, studio conditions and, no doubt, further experience in the role, enabled him to be more nuanced in 2008. He’s equally successful in both Parts I and II and his is the best Gerontius of recent times and worthy to be ranked with the finest exponents on disc. Alice Coote is a fine Angel. She sings with feeling and commitment as well as musicality. Bryn Terfel is magisterial as the Priest and predictably imposing as the Angel of the Agony. The Hallé Choir and the Hallé Youth Choir (as the semi chorus) sing splendidly while the orchestral contribution from the Hallé is superb. The conducting of Sir Mark Elder is masterly in every way. His command of detail is extraordinary, as you can tell if you follow with a score, but equally memorable is his command of the Big Picture. His Elgar recordings prior to this one and since have shown he is arguably the leading Elgar conductor of our day and this Gerontius is one of the very best things he’s done. As I said in my original review, this is a remarkable achievement
Vladimir Ashkenazy, 2008
This is a recording taken from live performances given in Sydney in 2008, though it was not issued until 2012. Unfortunately, as I said in my review, this is not a recommendable version. Mark Tucker, who sings Gerontius, sounds under strain in Part I though he fares somewhat better in Part II. The Finnish mezzo, Lilli Paasikivi, is the Angel. She sings with a very full, rich tone and that in itself offers no little pleasure. Unfortunately, however, what I miss in her performance is any real sense of identification with the text. The notes are all there but she doesn’t seem to penetrate below the surface. David Wilson-Johnson, the third soloist, is much more satisfactory and the choir and orchestra both do well. I’m afraid that, overall, I’m unimpressed with Ashkenazy’s conducting of the score, not least with several tempo selections which are significantly out of step with Elgar’s very precise markings. He really offers little in the way of persuasive insights into the score and, in summary, this recording is very disappointing and simply can’t match the best on the market.
Sir Colin Davis, Dresden 2010
I found Sir Colin Davis’s 2005 LSO Live performance very disappointing. When I discussed it previously, I mentioned that I had heard on the radio a live performance given in Dresden in 2010. This seemed to me to be preferable in almost every way but I doubted if it would ever qualify for commercial issue, chiefly because a foolish member of the audience burst into applause as ‘Sanctus fortis’ came to an end. I was thrilled, therefore, when the Profil label issued this performance on CD in 2015 as a tribute by the Staatskapelle Dresden to Sir Colin, who had died in 2013. The disfiguring applause was gone – presumably some patching from the dress rehearsal had been possible. Sir Colin had the benefit of the Staatskapelle Dresden, an orchestra with which he had enjoyed a long association, and they play marvellously for him. The Staatsopernchor Dresden makes a notable contribution too.
There’s an excellent trio of soloists. The Canadian bass, John Relyea sings both of his solos very well indeed. He’s a dignified and firm-toned Priest and he brings an imposing presence to the role of The Angel of the Agony. Paul Groves sings Gerontius and I think that here he achieves greater spontaneity than was in case in the Elder studio recording of 2008. The Angel is Dame Sarah Connolly. At the time this concert was broadcast there was no studio recording involving her – though Chandos later put that right by casting her in Sir Andrew Davis’s recording (see below). In Dresden she sang marvellously for Sir Colin, bringing out many expressive nuances in the score. I wouldn’t wish to express a preference between this performance and her singing on the Andrew Davis recording; both are excellent.
Sir Colin conducts with great understanding and also with a fine dramatic sense. Some of his tempi are a little more urgent than we hear from many conductors but I am completely convinced by his way with the music throughout. To be truthful, I don’t detect any significant interpretative differences between this performance and the 2005 LSO Live version. However, I prefer Profil’s recorded sound and in every respect the Dresden team of soloists is better than the LSO Live trio. I have no hesitation in declaring this Dresden performance to be the preferred Colin Davis recording. My full review of the set is here.
Edo de Waart, 2013
This is a recording from a slightly unexpected but welcome source: Belgium. Edo de Waart conducts the Royal Flemish Philharmonic and the Collegium Vocale Ghent on a two-disc Pentatone release (review). This set has a lot going for it. De Waart conducts the score well and he obtains an excellent response from the orchestra. Those comments also apply to the uncommonly generous coupling: a good performance of the First Symphony. The choir, which is more usually heard in earlier music than this, offer arguably the finest choral singing in this work on disc to date. I’m sure the chorus is numerically smaller than we are accustomed to hearing but these are all professional singers – I suspect it was the first recording to feature a wholly professional choir – and the focus and precision of their singing brings great rewards. The only slight caveat is that the semi chorus isn’t as differentiated – or distanced – as one would like. The recorded sound is very fine indeed. Peter Auty is in many ways an impressive Gerontius, though in Part I he doesn’t suggest much of the frailty of a dying man. However, you’ll go a long way to find a Gerontius whose voice is as clear and open-throated and his diction is crystal clear throughout. Overall, he’s a good Gerontius though I’ve heard several – including Paul Groves, Philip Langridge, John Mitchinson and the incomparable Heddle Nash – who are more distinctive and who seem to me to penetrate to the heart of the matter more convincingly
The American baritone, John Hancock doesn’t present a serious challenge to the best singers of the bass/baritone roles: he’s better as the Angel of the Agony than as the Priest. The South African mezzo, Michelle Breedt, sings the Angel. Hers is a very full-toned voice, almost veering towards contralto in timbre, and her tone is somewhat covered at times. Initially I thought I was going to like her performance but reservations soon arise. Her heavily accented English is sometimes intrusive. More seriously, she frequently adopts an operatic style that I find quite at odds with the spirit of the music and, to make matters worse, quite often she breaks the line. She offers a good account of the Farewell but elsewhere I often listened in vain for evidence of a consoling or encouraging sentiment in her singing.
The main flaw – and a very serious one – is that in order to accommodate the symphony as well as Gerontius it’s necessary to change discs part way through Part II. The break comes immediately after ‘Praise to the Holiest’. Having to change discs at this point is a catastrophic distraction, unprecedented in my experience, and it’s a very serious drawback to this set. It seems almost as if we’ve regressed to the ‘bad old days’ of LP side breaks.
Sir Andrew Davis, 2014
Sir Andrew’s 1997 DVD release, discussed above, had much to commend it but I was delighted that Chandos gave him the opportunity to make a studio recording in the year that we marked the 80th anniversary of Elgar’s death. On this occasion Stuart Skelton, a noted operatic tenor, sang Gerontius. His reading of the role has been widely praised elsewhere and I also found much to admire. That said, I remain unsure that in Part One he conveys the sense of Gerontius as a man in extremis as convincingly as some other tenors on disc. However, as I said in my full review of the set, much of what he does is very good indeed and he convinces in Part Two. There’s no doubt that he has the vocal amplitude that the big moments, such as ‘Sanctus fortis’, require.
Sarah Connolly is a first-class Angel, bringing very expressive and expertly controlled singing to the role. Her admirers may have regretted that it took so long for her to make a studio recording but it was worth the wait and, of course, she brought to this Chandos assignment considerable concert hall experience in the role. David Soar sings both his solos very well indeed. The BBC Symphony Chorus gives one of the best choral contributions on disc that I’ve heard, though there’s a minor disappointment in that the semi chorus isn’t as distanced as I’d have liked. In all other respects, though, the Chandos engineering is superb. The contribution of the BBC Symphony Orchestra is consistently excellent. As for Sir Andrew Davis, the verdict in my original review was that he “has the complete measure of the score and his grasp of Elgarian style seems as instinctive as it is complete.” This is now a leading recommendation.
Daniel Barenboim, 2016
This recording was made live at two performances in the Philharmonie in Berlin, the first of which I attended to review the concert for Seen and Heard. In the run-up to the concert there were several changes to the line-up of soloists. Dame Sarah Connolly was indisposed and her place was taken by Catherine Wyn-Rogers. As for the title role, it was originally intended that Jonas Kaufmann would sing it but he withdrew, as did his replacement. Andrew Staples stepped in at very short notice – 48 hours, I believe – and did very well. In fact, the only soloist who survived from the originally announced roster was Thomas Hampson and, ironically, I was rather disappointed by his contributions.
There was no question of disappointment where Catherine Wyn-Rogers was concerned. As I mentioned when discussing the Vernon Handley recording, there were at the time some who felt her performance for Handley betrayed inexperience. Such an objection could not be raised in response to this Berlin performance. Her performance as the Angel is here full of maturity and sensitivity and we can only be glad that this fine artist got another chance to record the role on CD. I recall that at the end of the concert the soloists and conductor were all presented with bouquets. Barenboim detached a flower from his bouquet and presented it to Miss Wyn-Rogers, a courtly gesture that was amply justified by her performance. Andrew Staples may have been a short-notice replacement but no allowances need be made for that. His tone is clear and very focussed. His may not be the most opulent of voices but it’s well-suited to this role. He has sufficient heft for the big moments but he also shows great finesse in the passages that call for a lighter touch, such as the dialogue with the Angel in Part II.
The professional singers of the Staatsopernchor and RIAS Kammerchor sing superbly while the playing of the Staatskapelle Berlin is simply magnificent. They have a long and clearly close rapport with Daniel Barenboim and, my goodness, it shows. Barenboim’s conducting is very individual and some of his tempo selections will be controversial, I’m sure. However, it seems to me that everything he does is in response to the spirit of the music and it’s good to hear this score conducted by such a great musician who has clearly thought deeply about it and has reached his own, very musical, conclusions. My full review of the set is here.
Paul McCreesh, 2023
This recording is notable on several counts. The excellent chorus, 150-strong, was mainly comprised of young singers from the Gabrieli Roar project and the Polish National Youth Choir; they acquit themselves admirably. The freshness of the choir’s sound is striking and there’s no lack of body when it comes to the big chorus moments, though ideally there should be more snarl in the Demons’ Chorus. The orchestra is the Gabrieli Players, who use instruments of Elgar’s time – including the composer’s own trombone. This is the first time a recording of Gerontius has used period instruments and the result is a complete success. There’s absolutely no suggestion of thin tone; the climaxes have power and presence, while the many passages of quiet, refined music are imbued with delicacy, subtlety and transparency. The bass-baritone, Andrew Foster-Williams is satisfactory but doesn’t challenge the best of his predecessors. Anna Stéphany may not quite match the eloquence of Dame Sarah Connolly or leave an indelible mark on phrase after phrase in the way that Dame Janet Baker did, but hers is nonetheless a fine and convincing portrayal of the Angel. Nicky Spence is outstanding, giving one of the finest, most nuanced performances of Gerontius on disc. I think he is successful in all aspects of the role. Paul McCreesh conducts the work very well indeed. For the most part his tempo selections are appropriate and I was consistently convinced that his conducting conveyed the spirit of the music. This recording of Gerontius is a considerable achievement. My full review is here.
Nicholas Collon, 2024
In 2025 the Ondine label, issued a recording in which a combined Anglo-Finnish chorus and the Finnish Radio Symphony Orchestra were conducted by Nicholas Collon. This is a live performance given in April 2024 and recorded in excellent sound. The orchestral playing is of a very high order indeed and the chorus work is consistently excellent, though as is so often the case, I’d like to hear a bit more venom in the Demons’ Chorus. Roderick Williams is the baritone soloist. He sings well, as one would expect, though I don’t think he has quite enough vocal heft for the Angel of the Agony. Christine Rice is a good Angel. She sings with poise and sincerity and her diction is excellent. There’s much to admire in her performance, even if she doesn’t challenge the primacy on disc of Janet Baker and Sarah Connolly. John Findon sings the title role; I understand he was a late replacement for an indisposed colleague. He has a strong, clear voice and excellent diction. If I’d attended the concert, I think I’d have gone home satisfied but for repeated listening on a recording I fear his performance is too generalized; there’s insufficient nuance and attention to detail. Nicholas Collon conducts well. His pacing of the score is, for the most part, judicious and idiomatic. His conducting displays welcome attention to detail and much empathy with Elgar’s music. He conveys the drama very successfully and he’s also good in the more intimate passages. In the last analysis, despite many merits, this recording does not challenge the best. I have commented on this version in more detail in a full review, which will be published imminently
Summing up
Does the ideal recording of The Dream of Gerontius exist? Is such a thing possible? The answer to both those questions must surely be in the negative for it’s highly unlikely that a performance of any work of art can achieve perfection. And in any event one person’s “ideal performance” will not strike another listener in the same way. But that’s not to diminish the achievements, both individual and collective, that are enshrined in several of the recordings discussed above. Indeed, among them all there are only a couple that I’d decline to recommend.
Everyone will have their own favourite recordings of The Dream of Gerontius. A version that is ideal in all respects is inevitably out of reach and, of course, the work’s discography continues to expand. Among the recordings I’ve discussed, I believe a few stand out from the rest.
The inclusion of a recording involving Dame Janet Baker is surely mandatory. Her performance on the Boult DVD is special but there are drawbacks, not least the sound quality. The fine Rattle performance offers better sound and greater role maturity than the famed Barbirolli set. Yet, despite the drawback that Kim Borg is a grievous disappointment – a terrible piece of miscasting – for vision and inspirational conducting I keep coming back to ‘Glorious John’. Richard Lewis is a very considerable Gerontius, even when slightly indisposed, and in the young Janet Baker Barbirolli had an incomparable Angel. Barbirolli’s choir and orchestra perform as if their very lives depended on it. I confess that it is this version that has always moved me the most and, surely, emotion as well as objective assessment is a major part of the evaluation of any musical performance. I’d also want Heddle Nash in the 1945 Sargent account. No Elgar enthusiast’s collection should be without this performance: Nash is simply hors concours.
Several other versions have much to commend them. Britten’s version has many penetrating insights, though Pears as Gerontius will not be to everyone’s taste. Boult’s EMI performance exudes authority but, as with the Britten version, he has a controversial tenor in the title role. Vernon Handley’s version is as authoritative as Boult’s and I’m much more attracted to both his Gerontius and his Angel than some other commentators have been. Rattle’s account has excellent soloists and the conductor obtains exceptional results from the CBSO and their Chorus. Sir Colin Davis’s Dresden performance also has an awful lot going for it.
However, it seems to me that the best all-round modern versions are those conducted by Sir Andrew Davis (Chandos), Sir Mark Elder. and Paul McCreesh. Davis has superb recorded sound and an exceptional Angel in Sarah Connolly. All aspects of the Elder performance are very fine, though as time passes I’ve become a little less convinced by Bryn Terfel as The Priest; he is an imposing Angel of the Agony, though. Elder’s conducting of the score is deeply satisfying. I continue to find his Gerontius, Paul Groves, very impressive but Nicky Spence, who sings for McCreesh, is exceptional; he offers one of the finest, most nuanced interpretations of the title role that I’ve ever heard. The McCreesh performance, presented in excellent sound, is a great achievement. A choice between these three distinguished performances of The Dream of Gerontius is well-nigh impossible to make, but if I were cast away on the mythical Desert Island and could only have one modern recording of this great masterpiece to sustain me, then by the finest of margins I’d rescue Sir Mark Elder’s recording from the waves. I would not wish to confine myself to a single choice for this work. That’s not a cop-out but, rather, a recognition that various interpreters bring different things to this score. So, my joint recommendation is that the Elder and Barbirolli recordings belong in any serious Elgar collection.
On the manuscript full score of Gerontius Elgar inscribed some lines from a poem by John Ruskin. The quotation begins ‘This is the best of me; for the rest, I ate, and drank, and slept, loved and hated, like another.’ He also wrote to a friend that he had ‘written my own heart’s blood into the score.’ Hearing music of such blazing conviction and originality, particularly in Barbirolli’s warm hearted, dramatic and totally committed performance, who could doubt him?
John Quinn
