Woking Choral Society - Mendelssohn's 'ELIJAH'

 
Woking Choral Society’s performance of Mendelssohn’s oratorio ‘Elijah’ on Saturday 3rd December in the H G Wells Main Hall was a welcome revival of a major choral work by this composer, previously almost as frequently performed as Handel’s ‘Messiah’ but less so in recent years. Under the baton of their music director Ben Palmer and with the important orchestral contribution provided by the Bartholdy Chamber Orchestra (originally formed to perform this very work!), this proved to be a concert to be savoured. ‘Elijah’ depends heavily on the utterances of the eponymous prophet, and from his introductory entry at the start of the work it was clear that the strong voice, clear enunciation and commanding presence of bass-baritone Ian Caddy fully met the challenge. The subsequent overture showed the orchestra to be in fine fettle, especially the brass section which plays a significant part in the symphonic texture of much of this music. Likewise the forthright and confident performance by the choir from their first entrance onwards not only demonstrated the commitment required for the severe nature of the text, but also their enthusiasm for Mendelssohn’s attractive harmonies. Especially notable in Part 1 was the whole episode of the sacrifice competition with the full force of choir and orchestra making an impressive effect.

In part 2, in the almost operatic role of Queen Jezebel, Belinda Williams adopted a suitably shrewish tone in stirring up the choir to wrathful antagonism toward Elijah whose sorrowful response ‘It is enough, O Lord’, reminiscent of Bach’s chorale ‘Es ist genug’ which Mendelssohn must have known, was most effectively delivered by Ian Caddy. The final section in which Elijah triumphs contains exciting writing for both chorus and orchestra: noticeable was the accurate tonality of the ladies of the choir in the ‘a capella’ trio for angels, and in the effective contribution of both choir and orchestra in the subsequent retribution of earthquake and fire. In the final sequence Ben Palmer’s vigorous direction ensured a glowing, triumphant ending. Following up their successful and enjoyable performance of this important example of the 19th century choral repertoire, may we hope that the Society would consider including further choral masterpieces from this era in their future programmes by, for example, Robert Schumann who at one time was himself a choral director and Antonin Dvořák several of whose choral works were written for English choirs?

--- Lewis Orchard