Elijah: The power of the voice
Ulster Hall, Belfast
★★★★★
The Belfast Philharmonic Society is celebrating its 150th anniversary, a remarkable unbroken record through many troubled times. The Phil was originally born from the amalgamation of two rival choral societies, but chose Mendelssohn’s Elijah – accompanied by Mr de Jong’s orchestra from Manchester – for the first performance in 1874. With 400 performers on the Ulster Hall stage, it would have been a tight squeeze indeed. although people were smaller back then.
The current Belfast Phil, with just under 140 choirs and certainly more concerned about health and safety, has decided to celebrate the milestone in the same Victorian concert hall. It has also chosen the same Victorian oratorio that had the Queen’s own seal of approval: “The recitatives might be abbreviated, but the whole is a magnificent piece…”
He was not a bad judge. The Old Testament account of Elijah is full of color and drama as the prophet resurrects the widow’s son, confronts Baal worshipers, faces Ahab and Jezebel, flees into the wilderness, encounters the Lord (not in an earthquake, not in an earthquake). in fire, but with a low voice), travels to Mount Hooreb and ascends to heaven in a flaming chariot. Many operas have much less action and excitement.
This centenary performance, sung in English at the work’s premiere in Birmingham in 1846, is led by Phil’s choirmaster James Grossmith, who digs deep into its drama while maintaining continuity and forward momentum. The chorus is as important a role as Elijah himself, creating so much exciting urgency to the music. Grosssmith’s disciplined choir provides that. It’s certainly improved over the last year or two, with a better more homogenous sound and an attacking unison, sensitive to changes in dynamic levels, clear phrasing, good intonation throughout, and well-placed high notes that never sound strained.
The choir is balanced by four soloists, especially the key role of Elia. He must be a strong bass, with, as Mendelssohn said, a range from stark and angry to brooding despair. Northern Irish baritone Ben McAteer takes on the role with great conviction, his voice and characterization demanding everyone’s full attention. They are well rewarded.
All the soloists show this sense of inclusion married to an excellent singing style. Soprano Elinor Rolfe Johnson plays the part of the widow in distress; his heartfelt appeal, “Hear, O Israel,” opens the second volume. Mezzo Claire Barnett-Jones as the power-hungry Queen Jezebel and the angel sings the gently resting O Rest in the Lord without unnecessary sentimentality. Irish tenor Dean Power, who doubles as the visionary prophet Obadiah and the disobedient King Ahab, delivers Italianate, clear and confident eloquence throughout.
The Ulster Orchestra conducted by Eleanor Corr will certainly well and truly overshadow Mr. de Jong’s orchestra. When playing on a desk whose string volume is not normal, the orchestral balance does not lose its liveliness. Grossmith creates a well-integrated and compact whole that adds energy and drama to the performance. Ulster Hall’s 1862 Mulholland organ throughout the evening in the hands and feet of Tristan Russcher is especially welcome.
It is a concert that warms the heart, affirms the merits of Mendelssohn’s music and recognizes the invaluable contribution of the Belfast Philharmonic Society over so many years.