There are...moments of inwardness and spirituality where the gleam of the cor anglais and Elgar's ever-emotional divided-string writing make their mark

Mark Elder conducts a radiant account with much dynamic ebb and flow. The Prelude's crescendo is an engine roaring to life. Sections expressing frailty...are compelling...The lively chorus revels in its frequent dramatic interjections.

It is good that Elder and the Hallé are maintaining the UK’s Elgar tradition – no one else is – and they produce a solid performance (appropriately glowing in the choral climaxes)

Elder clearly believes in every note of this noble edifice and his unforced, coherent conception has a thrilling ring of conviction about it. The soloists comprise a strong team. Iain Paterson is a commandingly articulate St Peter, the ever-versatile Susan Bickley a shiningly powerful Mary Magdalene, and Claire Rutter brings considerable technical acumen and strength of feeling

Iain Paterson possess a firm baritone and can express character strongly...Susan Bickley sings a controlled Mary Magdalene...I understand that Rutter was a last-minute substitute for this concert, but one wouldn't know it from the radiant performance she gives...Elder has a natural feel for Eglar's expansive phrases and he secures committed playing throughout.

Elder’s Hallé forces capture the valedictory tone of the music and its quintessential Englishness superbly. Clare Rutter, Susan Bickley, John Hudson and Iain Paterson sing with sublime gentleness and power, while the Hallé Choir have this music in their blood.

Elder carries off the remarkable feat of binding the loose episodic structure of the oratorio into a convincing whole; his choir and orchestra respond magnificently to his inspired direction.

The choral and orchestral writing, especially as delivered here, have rousing climaxes that compensate for more routine Elgariana padding. Worth discovering even if it's not his top work.