Dream of Gerontius, Elgar - Snape Maltings Concert Hall, April 9 2006.

Stunning choirs capture the mood.

Judith Newman writing for the East Anglian Daily Times.

"THE WORDS of Dream of Gerontius were taken from a poem by Cardinal Newman and set to music by Edward Elgar. They tell the story, in Part I, of Gerontius on his deathbed. The long, slow orchestral prelude transports the audience into the scene, setting the mood and building on the emotions, thus preparing the way for the entry of Gerontius sung by the tenor, Richard Edgar-Wilson. He had a long, long singing role which he carefully paced.

The attendants around Gerontius' bedside were represented by the massive chorus of getting on for 180 voices, from three choirs. It was a remarkable, restrained entry befitting of the occasion.

Stephen Holloway as the priest had a small part but his rich bass voice resonated splendidly through the hall.

In part two, Gerontius arrives at the Heavenly Gates with his guardian angel and makes his way past demons trying to claim him for Hell. He hears angels praising God and after enduring a night in Purgatory prepares to enter into the presence of God. Guardian angel, Elizabeth Sikora, mezzo-soprano, began in ameasured, self-possessed way but grew in stature with the drama of the music.

The choir was truly magnificent. They achieved great contrasts in their roles as attendants, then as menacing demons and finally as an awe-inspiring choir of angelicals. Colchester Philharmonic complemented the singers perfectly.

But the success of the production was surely down to Patrick McCarthy. He is the conductor of each of the choirs: Ipswich Bach Choir, Witham Choral Society and Colchester Bach Choir as well as the conductor of the orchestra. Without exception everyone responded to his direction which resulted in such a fine achievement."

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Caractacus, Elgar - March 19 2005.

Witham Choral Society offers Stirring Elgar treat and Concert Coup

David Wood writing for the Braintree and Witham Times

"THIS prestigious concert was a great coup for Witham Choral Society and a 'must-see' event for devotees of Elgar's music. Performances of Caractacus are few and far between, and on Saturday the audience, including members of the Elgar Society, witnessed a rare and engaging rendition of Elgar's neglected cantata.
The story tells of Caractacus, the British chieftain who fought the Romans and was eventually defeated by the forces of Claudius. The title role was sung with authority by Robert Davies (baritone). His mellifluous tones blended well with the chorus and his rallying call to his troops was sung with typical Elgarian panache.
The mood of hope and contentment was shattered by the arch-druid, sung by Alastair Chapman. He had the lion's share of Scene II and his dark toned bass conveyed a sense of foreboding and gloom.
Eigen, the daughter of Caractacus, was sung by Daniela Bechly. Her warm-toned soprano was perfectly suited to the music of Elgar, and she combined with the tenor Kevin Ferguson (Orbin) in a lush and evocative love duet. His role was sung with youthful energy and operatic gusto.
The chorus clearly relished their role in the developing drama. Whether portraying scenes of pastoral simplicity or of rousing rallying calls, they were never less than convincing. Even in defeat, the British tribes were vindicated by the Roman authorities and the nationalistic fervour of the final chorus was almost overwhelming.
The conductor Patrick McCarthy clearly has a great feeling for Elgar's music and the orchestral playing from all sections was of the highest order. The swaggering Triumphal March was a particular delight.
With Elgar's enduring choral genius found in other works, Caractacus is often overlooked. It is perhaps its words that are its biggest stumbling block, and there were occasions in the performance when H.A. Acworth's archaic libretto became indistinct. Although at times cumbersome and unwieldy, Caractacus is worthy of performance and should be better known. Patrick McCarthy should be praised for championing this neglected work.
Judging by the length of applause after tonight's performance, there will be many more converts to Elgar's forgotten cantata. This was a memorable and significant concert."
DAVID H WOOD

Jackie Wallace writing for the Essex County Standard.

"PERFORMANCES of Elgar's powerfully dramatic cantata Caractacus are rather rare.
The complex vocal score and dense orchestration constitute an enormous challenge to performers and Witham Choral Society, directed by Patrick McCarthy, deserves full marks for attempting such an undertaking.
The unremarkable poetry of H A Acworth's libretto tells a tale of extreme patriotism, charting the fierce resistance of the British King to Roman invasion.
His defeat, capture and transportation to Rome culminate in his pardon from an Emperor impressed by his enduring nobility, and the story is embellished by romantic interest between Eigen, his daughter, and her lover Orbin with an added dimension of druid mysticism.
Baritone Robert Davies was exceptional as the unswervingly honourable Caractacus, using his superb voice to great effect particularly in the moving lament following his unsuccessful battle encounter.
Daniela Bechly, soprano, sang the role of Eigen with total dedication producing a tone that was as fluid as the streamlet and as light as the gentle wind which she described in the forest scene and her top register was absolutely breathtaking.
Kevin Ferguson's Orbin was earnest and impassioned and Alastair Chapman's characterisations of Arch Druid, Bard and Claudius were most impressive.
The singers and instrumentalists worked tirelessly. The choir enthusiastically contributed to the action changing from soldiers and Druids to woodland maidens and blood-thirsty Roman citizens, while the orchestra produced amazing volumes of rich sound and colour effects.
The last scene in particular was incredible in its blatant nationalism. If you thought Land of Hope and Glory was stirring stuff it doesn't come anywhere near the over-the-top triumphant finale of Caractacus!"

JACKIE WALLACE

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