Madeleine choirs do Elgar proud

MADELEINE CHOIR, Cathedral of the Madeleine, Aug. 13.

The Cathedral of the Madeleine is celebrating its centennial this week. For this milestone occasion, the cathedral's adult and children's choirs, orchestra and organist, Douglas O'Neill, performed Edward Elgar's "The Dream of Gerontius." Conducting was Gregory Glenn.

Usually called an oratorio, Elgar preferred the term musical drama for his monumental work. But no matter how it's labeled, one thing is obvious. This is a compellingly spiritual work, written by a composer for whom the text had deep meaning.

The poem which Elgar set to music, by the 19th century English cardinal John Henry Newman, is a reflection on death and the Final Judgment experienced by Gerontius, who symbolizes all people. It's thought provoking and the text raises some issues, but ultimately everything is resolved when Gerontius is admitted into heaven.

Elgar's setting is heartfelt and sincere and comes from someone who obviously was deeply touched by the poem. The music is dramatic and occasionally operatic in character. But it possesses a piety that comes through and overshadows all else. It isn't preachy; instead, it is a confession of faith and its essence is universal.

"The Dream of Gerontius" is only rarely performed today because of the forces involved, and also because it's been stigmatized for being old-fashioned and outdated. So it's refreshing that Glenn decided to put it on as part of the celebrations surrounding the cathedral.

In his years with the Cathedral of the Madeleine, Glenn has developed into a fine conductor who can easily handle a large assembly of singers and instrumentalists. He showed that once again Thursday, as he led his choirs and orchestra in an insightful reading of this work that was luminous and revealing. Glenn captured the grandness and scope of the work and its drama and power, but also its quiet inwardness and reflection.

The choirs sang magnificently as one has come to expect from the cathedral's singers, both children and adults.

The pickup orchestra played exceptionally well within the crowded confines of the altar area, which the musicians had to share with the choirs. They played with a full sound and finely crafted articulation and delivery.

The score also calls for three soloists. For this performance, they were tenor Martin Thompson as Gerontius; mezzo-soprano Kirsten Gunlogson as the Angel; and bass Tyler Oliphant, who is also a member of the choir, as the Priest and the Angel of Agony.

All three sang wonderfully. They have lyrical voices that also possess power. They brought conviction and feeling to their parts.

Thompson's and Gunlogson's singing was especially noteworthy for its clarity and resonance.

e-mail: ereichel@desnews.com