United Kingdom Mendelssohn, Elgar, Dvořák: Alice Coote (mezzo-soprano), Philharmonia Orchestra / Sir John Eliot Gardiner (conductor). Royal Festival Hall, London 16.2.2023. (JR)
Mendelssohn – Hebrides Overture ‘Fingal’s Cave’, Op.26
Elgar – Sea Pictures, Op.37
Dvořák– Symphony No.5, Op.75
A live performance with Sir John Eliot Gardiner on the rostrum could be assured to be considerate, and so it was with this live performance.
The first half was devoted to the ocean. Mendelssohn visited Scotland in 1829 and, after visiting Edinburgh, travelled as much as the island of Mull and set out in a small boat for Fingal’s Cave. He was seasick, and while he didn’t handle to imbue the piece with the ‘whiff of seagulls, whale oil and dead fish’ (to make use of his personal phrases), he did seize to perfection the ebb and stream of the Atlantic swell. Gardiner swayed by the piece just like the waves and the orchestra caught his drift. The honeyed clarinets of Mark van de Wiel and Laurent Bin Slimane stood out, as they did all through the live performance.
Elgar composed his evocative collection of Sea Pictures from the landlocked Malvern Hills, however the sea runs by every of the 5 songs set to 5 poems by completely different poets, together with Elizabeth Barrett Browning and Elgar’s personal spouse Alice. There are particular echoes of Dream of Gerontius, significantly within the third music. The work was premiered by Dame Clara Butt; her immense vocal energy was memorably and wittily captured by Sir Thomas Beecham: ‘On a clear day you could have heard her across the English Channel’. And it was simply this vocal energy that was lacking from this night’s efficiency. Coote, even from the rear stalls, was at instances nigh inaudible, regardless that Gardiner stored his orchestral forces very restrained. Coote had sung ‘Where corals lie’ on BBC Radio 3 just a few evenings in the past, simply with piano accompaniment, and it was charming. With the entire of the Royal Festival Hall to fill and an orchestra behind her, it was a unique matter. I additionally need to say that Elgar wrote the piece for a contralto, the darkest of all feminine voices, and I discover them most satisfying when sung extra comfortably in these deep registers. Coote’s voice could also be darkening at this stage of her profession however she continues to be a mezzo. Her facial expressions and breath management (particularly within the final music) had been exemplary. Full marks to Gardiner for displaying surtitles and in addition bringing within the corridor’s organ for added environment within the third and fifth songs.
Dvořák’s Fifth Symphony is taken into account pastoral and, by some, a masterpiece which is carried out too seldom. The opus quantity is misleading: that is an early work and it even has traces of immaturity and a few crude parts within the brass. The foremost theme is a winner however it’s repeated too typically, and the remainder of the work lacks the composer’s ordinary present for melodic invention. Nevertheless, we ought to be grateful to listen to the work reasonably than yet one more efficiency of Symphonies 7, 8 or 9. Gardiner clearly admires the work and was masterful in unfolding the layers of the sluggish motion particularly. Gardiner, quickly to rejoice his eightieth birthday, while nonetheless stuffed with power, was maybe not the best conductor to inject swirl into the Scherzo; nonetheless, he did the work proud and all sections of the orchestra sounded on world-class kind underneath his stewardship.
John Rhodes