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Mendelssohn: Elijah, Op. 70

Willard White (bass), Rosalind Plowright (soprano), Linda Finnie (contralto) & Arthur Davies (tenor)

London Symphony Chorus & London Symphony Orchestra, Richard Hickox

Mendelssohn: Elijah, Op. 70
A full-blooded account with a particularly stirring contribution from the LSO Chorus. White's commanding presence as Elijah is slightly marred by some passages with wobbly vibrato.

Mendelssohn: Elijah, Op. 70

Willard White (bass), Rosalind Plowright (soprano), Linda Finnie (contralto) & Arthur Davies (tenor)

London Symphony Chorus & London Symphony Orchestra, Richard Hickox

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A full-blooded account with a particularly stirring contribution from the LSO Chorus. White's commanding presence as Elijah is slightly marred by some passages with wobbly vibrato.

About

‘Never was there a more complete triumph’, wrote The Times after the premiere of Mendelssohn’s Elijah. The performance, conducted by the composer at the 1846 Birmingham Music Festival, marked the beginning of the life of Elijah as one of the best-loved choral works in the repertoire, a status it still holds.

A grand oratorio in two parts, Elijah is very much composed in the spirit of Mendelssohn’s baroque predecessors, combining the dramatic sweep of Handel with episodes of sublime meditation such as are found in Bach. It tells the story of the stern Old Testament prophet Elijah who preached against the idol worship of the Israelite people. Mendelssohn adapted the Biblical texts to produce intensely dramatic scenes depicting, for example, the resurrection of a dead youth, a contest of the gods, and Elijah’s ascension into heaven on a fiery chariot. This recording, made in April 1989, presents an all-star cast with Willard White in the title role and Rosalind Plowright, Linda Finnie, Arthur Davies, and Jeremy Budd singing the various supporting parts. Conducting the London Symphony Orchestra and Chorus is the late Richard Hickox, a musician who built an immense reputation for his masterful performances of choral music during his career. This release is a part of the ongoing Richard Hickox Legacy series.

Contents and tracklist

Introduction
Track length1:06
Overture
Track length3:25
No. 1, Chorus
Track length4:35
No. 2, Duet and Chorus
Track length1:55
No. 3, Recitative (Obadiah)
Track length0:45
No. 4, Air (Obadiah)
Track length2:13
No. 5, Chorus
Track length4:04
No. 6, Recitative "An Angel"
Track length0:59
No. 7, Angels (Semi-Chorus)
Track length3:39
No. 8, Air "The Widow"
Track length5:38
No. 9, Chorus
Track length3:41
No. 10, Recitative (Elijah and Chorus)
Track length3:55
No. 11, Chorus
Track length3:24
No. 12, Recitative (Elijah)
Track length1:09
No. 13, Recitative (Elijah and Chorus )
Track length1:59
No. 14, Air (Elijah)
Track length3:33
No. 15, Chorale "Angels"
Track length2:12
No. 16, Recitative (Elijah and Chorus)
Track length2:46
No. 17, Air (Elijah)
Track length1:53
No. 18, Arioso
Track length3:15
No. 19, Recitative (Obadiah and Chorus)
Track length5:44
No. 20, Chorus
Track length4:01
No. 21, Air
Track length5:21
No. 22, Chorus
Track length4:23
No. 23, Recitative (Elijah and Chorus)
Track length3:26
No. 24, Chorus
Track length1:35
No. 25, Recitative (Obadiah)
Track length2:08
No. 26, Air (Elijah)
Track length5:15
No. 27, Recitative (Tenor)
Track length0:40
No. 28, Trio "The Angels"
Track length2:09
No. 29, Chorus
Track length3:58
No. 30, Recitative "The Angel"
Track length1:57
No. 31, Air "The Angel"
Track length3:28
No. 32, Chorus
Track length2:44
No. 33, Recitative (Elijah)
Track length1:42
No. 34, Chorus
Track length3:43
No. 35, Recitative (Semi-chorus and Chorus)
Track length3:41
No. 36, Chorus and Recitative (Elijah)
Track length1:22
No. 37, Arioso (Elijah)
Track length2:20
No. 38, Chorus
Track length2:13
No. 39, Air
Track length2:07
No. 40, Recitative
Track length1:05
No. 41, Chorus
Track length3:22
No. 41, Quartet
Track length2:43
No. 42, Chorus
Track length3:45

Awards and reviews

Christmas 2014

A full-blooded account with a particularly stirring contribution from the LSO Chorus. White's commanding presence as Elijah is slightly marred by some passages with wobbly vibrato.

a performance that both pays tribute to the English choral tradition in this work and presents it dramatically as a kind of religious opera. Willard White may not be ideally steady in his delivery, sometimes attacking notes from below, but he sings consistently with fervour...The chorus fearlessly underlines the high contrasts of dynamic demanded in the score.
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