Document

  1993
    August 1993
        Choral and song
                Mendelssohn Elijah.

Mendelssohn Elijah (sung in German). Elly Ameling, Renate Krahmer (sops); Annelies Burmeister, Gisela Schroter (mezs); Peter Schreier, Hans Joachim Rotzsch (tens); Theo Adam (bass-bar); Hermann Christian Polster (bass); Leipzig Radio Chorus; Leipzig Gewandhaus Orchestra / Wolfgang Sawallisch.

Philips Duo (Mid price) (CD) 438 368-2PM2 (two discs: 131 minutes: ADD). From SAL3730/2 (9/69).

Selected comparison:

Masur (5/93) 9031-73131-2

It is always a pleasure to listen again to this classic set. It now receives a new lease of life in Philips's Duo series, a timely reissue in view of the new competition from the equally recommendable Masur version on Teldec. Those who are strapped for cash need hardly think they are acquiring second best, far from it, if they buy this mid-price version, even if the recording hasn't quite the breadth of the new one. Sawallisch's conducting may not be quite as electrifying as Masur's, but it makes us just as aware of the immediacy of the drama as do all the best readings of this old favourite. The chorus has the bite and freshness so missing on all other versions, the Masur apart, and the orchestra have the music in their blood, with a tradition stretching back to the oratorio's earliest days. They really live their roles and, with Sawallisch, give the drama a real cut and thrust.

In the area of solo singing this set has the edge on the Masur. Listening to it afresh, Adam's forthright, authoritative Elijah must be preferred to that of Miles (Masur). His German is obviously more idiomatic; so is his experience of the role––compare them in "Herr Gott Abrahams" or "Ist nicht des Herrn Wort?", where Adam delivers the Handelian line with incisive, direct attack. Excellent as is Donath, Ameling is her superior in terms of youthful tone; her "Hore Israel" is a model of refined yet positive singing. With the tenors there's no competition; indeed Schreier is the most appealing and alert in any version, singing with a Lieder artist's appreciation of the text. His eloquent account of the hushed recitative "Siehe, er schlaft unter dem Wacholder", after Adam's simply phrased "Es ist genug", is rightly the still centre of Part 2. Only the slightly matronly Burmeister gives definite points to Masur's steadier, more pleasing van Nes.

AB



		It is always a pleasure to listen again to this classic set. It now receives a new lease of life in Philips's Duo series, a timely reissue in view of the new competition from the equally recommendable Masur version on Teldec. Those who are strapped for cash need hardly think they are acquiring second best, far from it, if they buy this mid-price version, even if the recording hasn't quite the breadth of the new one. Sawallisch's conducting may not be quite as electrifying as Masur's, but it makes us just as aware of the immediacy of the drama as do all the best readings of this old favourite. The chorus has the bite and freshness so missing on all other versions, the Masur apart, and the orchestra have the music in their blood, with a tradition stretching back to the oratorio's earliest days. They really live their roles and, with Sawallisch, give the drama a real cut and thrust.



		In the area of solo singing this set has the edge on the Masur. Listening to it afresh, Adam's forthright, authoritative Elijah must be preferred to that of Miles (Masur). His German is obviously more idiomatic; so is his experience of the role––compare them in "Herr Gott Abrahams" or "Ist nicht des Herrn Wort?", where Adam delivers the Handelian line with incisive, direct attack. Excellent as is Donath, Ameling is her superior in terms of youthful tone; her "Hore Israel" is a model of refined yet positive singing. With the tenors there's no competition; indeed Schreier is the most appealing and alert in any version, singing with a Lieder artist's appreciation of the text. His eloquent account of the hushed recitative "Siehe, er schlaft unter dem Wacholder", after Adam's simply phrased "Es ist genug", is rightly the still centre of Part 2. Only the slightly matronly Burmeister gives definite points to Masur's steadier, more pleasing van Nes.