Saturday 9 May 2009
Queen Elizabeth Hall, Soutbank, London SE1
Mendelssohn Elijah
Thames Philharmonic Choir
Thames Festival Orchestra

For many years the John Bate and the Thames Philharmonic Choir have had a fruitful relationship with the Konstanz Symphonic Choir and its eminent musical director Wolfgang Mettler, enjoying frequent visits and exchanges with this outstanding group of German and Swiss singers who hail from the beautiful and historic border town that is twinned with Richmond-upon-Thames.

What better way, then, to mark the 200th anniversary of Mendelssohn's birth in 1809 than to come together to perform a work by this jointly celebrated Anglo-German composer.

The notoriously lengthy oratorio, Elijah, one of Mendelssohn's most familiar works, is receiving many performances this year. Having heard from local music lovers of recent 'complete' performances that have left exhausted singers and audiences alike ensnared until nearly midnight, it was a relief to learn that the Thames Phil performance had been subject to some cuts. And what a painlessly smooth operation the sensitive musical surgeon had executed on this occasion. The musical drama unfolded at a comfortable pace in an effective and intelligently balanced realisation.

The combined choirs, whilst consistently accurate and beautifully toned, seemed a little tentative at first. Although well rehearsed back home, the Konstanz contingent had hurried straight from Heathrow to their first joint rehearsal only the previous evening. But the initial hint of reserve from both parties swiftly melded into comfortable confidence and thence to electrifying unity.

Elijah is a rare (but not unique) instance of a composer effectively setting and adapting a double text in two different languages at the same time. In England, of course, Elijah is generally sung in English, but the German version can reveal refreshing new insights and subtleties. For example, the dramatic entreaties of the Priests of Baal can sound underwhelmingly polite when sung by a chorus in English, where the words are unhelpfully characterised by insipid vowels and aspirates. By contrast, the aggressive consonants and guttural bite of the German text packs a more powerful punch. In view of the collaborative nature of this particular enterprise, a bilingual rendition - alternating, or with contrasted languages in different voices perhaps, particularly where text is repeated - might have been an interesting experiment, elucidating Mendelssohn's bilingual conception and composition! I don't know if it's ever been attempted, but perhaps it's too radical a thought!

The four soloists, Kathryn Harries soprano, Ruth Peel alto, Rogers Covey-Crump tenor and Michael Bundy bass were a revelation. Not only were their individual contributions consistently faultless, committed and inspiring, but as an ensemble they were particularly outstanding. Rarely have I heard such an effective and homogenous group of soloists sing with such sensitive and effortless unity.

Under the assured direction of John Bate the two choirs, soloists and orchestra delivered a warmly uplifting performance to the large and appreciative audience. It was a memorable experience for all concerned, helping to cement an enterprising and productive international partnership. Long may it continue.

Professor Kevin Jones, May 2009.