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Mendelssohn, Elijah: Soloists, Orchestra of the Age of Enlightenment with Jeffrey Skidmore (Conductor) and the Ex Cathedra XL Anniversary Choir, Town Hall, Birmingham 18.10.2008 (GR)


Any performance of Mendelssohn’s Elijah in Birmingham is a bit special, the first performance having been held there in 1846. This particular rendering was that little bit extra, not only in the very hall of that première but also the first since the re-opening of the Birmingham Town Hall following the completion of its renovation last year. Another first was the edition on offer – a recreation of the 1846 version. Although much of the credit for this memorable occasion must go to Derek Acock (as spelt out in the superb and comprehensive programme) this was a team effort, one in which native Brummie Jeffrey Skidmore and Anne Elliot of Birmingham Central Library played a major part. Clearly a huge amount of work had been undertaken for one evening, most of it I imagine a ‘labour of love’. Was it all worth it?

The oratorio relates the major events in the life of Elijah through a series of biblical excerpts from books as diverse as I Kings, Psalms, Lamentations and Ephesians. Such formulae can result in a certain lack of continuity in the drama, but this must be balanced against the sheer quality of the music. The prophet's prophecy of the impending drought was delivered from front-centre of the choir stalls, but the message from heaven sent via James Rutherford as Elijah did not resound to my seat in the circle. Following this prologue, the overture from the Orchestra of the Age of Enlightenment graphically spelt out the misery of the Israelites, the music employing a fugal subject with a series of interlocking tritones; their gloom was compounded in the ensuing chorus. However the message from Obadiah in the form of Mark Padmore gave hope to the people; his tenor air If with all your hearts so convincing and was for me the first impressive number of the evening. The double-quartet, normally a highlight of Part One, lacked impact possibly due again to the position of the soloists up top.

The lengthy recitative between Elijah and the Widow was sung in front of the orchestra. This allowed Rutherford and Julia Doyle a better engagement with the audience and was all the better for that. The anguish of the mother and the pleading tones of Elijah came across well. Doyle’s full release on reviveth evoked a mellifluous acknowledgement of the miracle by Rutherford and the scene peaked with the tender union of both voices thanking God.

The strings of the OAE ably whisked Elijah away to visit Ahab, but the king and his people gave him a stormy reception. The subsequent through-composed confrontation between Elijah and the Priests of Baal was particularly effective. Rutherford’s recitative was taunting and derisory, inciting the priests into a frenzied succession of brief choruses – Baal, we cry to thee, Hear our cry, O Baal and Hear and answer; demonstratively delivered by Ex Cathedra; the benefit of their augmented forces was clearly apparent from the increasing mass hysteria. At this point Mendelssohn breaks the continuity somewhat with an aside from Elijah – the beautiful aria Lord God of Abraham – a prayer to which a quartet of angels devotedly responded. Rutherford then authoritatively commanded the heavenly fire to descend. After the people had forcefully announced the arrival of the flames, they conceded We will have no other God; maestro Skidmore expertly handled this change in mood.

Elijah now showed the revengeful side of his character in the allegro aria Is not his word, taken from Jeremiah; Rutherford negotiated the succession of quarter notes with ease. Another contrast followed, the popular aria Woe unto them, but this time the change in mood blended with the narrative. In most English text versions the Woe is sung twice corresponding with the original German of Weh and syllable ih of ihnen. To my mind this has always been a particularly poignant moment, but here I only heard a single Woe. If this was the case and this is how the 1846 version was scored, then I believe the later versions to be an improvement on the Henscheke score. Another downside of the original followed immediately – no Obadiah recitative that forms an effective link to the next miracle, the bringing of the rains. Nevertheless the close of Part One still showed how Mendelssohn was able to combine lyricism with drama: in succession we had the exquisite hymn-like Open the heavens from both Elijah and choir, Doyle’s realistic creation of the youth sent as look-out, the concern in Rutherford’s voice when no clouds appeared and the triumph when they did, and finally the choir, with the sopranos leading the way, raising the roof in the glorious Thanks be to God.

Part Two was introduced by a recitative from the gospels, another difference between the Henscheke and Dover editions; the big soprano number followed. Doyle clearly delivered her message in the adagio section, but I was less enamoured by her leaps after the B major allegro change. I enjoyed the Handelian-style Be not afraid, the choir’s interweaving conversations and unison sectors equally appealing, not to mention the resounding support from the OAE horns and trumpets. The antagonism Jezebel had for Elijah as expressed in the dialogue between Diana Moore and the choir felt a bit tame, but the energy imparted in the swinging Do unto them chorus had enough menace to have Elijah trembling in his shoes. Henscheke did not allow Obadiah to warn him.

Elijah’s soliloquy Though stricken, they have not grieved with cello obbligato was in turn both gentle and dramatic as he begs for God to take his life – Rutherford’s range and dynamic variation equal to the task in every way – he was the star of the night. In Henscheke Lift thine eyes was a duet (not a trio as in Dover) from Grace Davidson and Lucy Ballard. This was a delightful but brief angelic contribution, certainly one plus for Henscheke; the colour engendered was carried over to the next chorus. After Elijah pondered on his future, we had the other big alto air Oh, rest in the Lord; I thought the tempo of Moore a little fast and lacked some of the mellowness of one famous rendition from a Lancashire lass.

Behold! God the Lord passed by demonstrated how Mendelssohn was able to place the choir as major protagonist. The tremolo of the OAE strings provided a mighty wind inviting Ex Cathedra to describe its effect on the mountains. This they did with great intensity, going on flex their muscles in turn at the power of the sea and an earthquake. When the Lord appeared with a still small voice it evoked a delicate pianissimo response. The evening did Ex Cathedra’s growing reputation no harm at all. Having built it up from scratch (next year sees their fortieth anniversary) Skidmore has established a very close working relationship with his singers; his strong faith in his troops seemingly had them often responding without cue, enabling him to effectively control the wider picture.

As Elijah went on his way in the strength of the Lord, his arioso received some ‘lump in the throat’ accompaniment on the oboe. Nobody in the orchestra worked harder that Sarah Stuart on timpani and noticeably so when she heralded the whirlwind that escorted Elijah to heaven. The full force of choir and OAE were required to move the fiery chariot. The return of Mark Padmore was worth waiting for and his reflection Elijah walked with God showed why he is one of the UK’s top tenors. Mendelssohn gave us one more chorus and quartet before the grand finale full of harmonious amens.

The instruments used for the première in 1846 included three ophicleides, one of which was a contrebass ophicleide. So thorough was the preparation for this concert that the only playable contrebass ophicleide in the world was obtained on loan from the US (this oddity was even thought newsworthy enough for BBC TV Midland News). Was this taking authenticity too far? Was it worth it then? Although Henscheke did display certain differences, they were not huge, so I’m not so sure. Given the same set of artists I think I would have had equal enjoyment whichever version had been performed – and it was very enjoyable.

Geoff Read


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