Review of Elgar's The Apostles

This review appeared in the August 2015 edition of The Elgar Society Journal. The author, Martin Passande, is a past president of The Elgar Society.

The Apostles in Dublin - 9 May 2015

A long-standing invitation to visit Dublin to stay with Elizabeth and Francis Craven was made even more enticing when Elizabeth told me that there was to be a performance of The Apostles by The Guinness Choir of which she had been, until prevented by ill health, a member.

The choir, dating back to 1951, had given The Apostles amazingly in 1989. They have over the years been greatly supported by Guinness (now Diageo) who are now sadly withdrawing funding. The choir plans to continue, so hopefully this was not a swansong.

The RDS Concert Hall is substantial, and, by no means full, held a goodly number, among whom it was gratifying to note quite a number of younger people; hopefully the Elgarians of today and tomorrow.

The choir and semi-choir from Kilkenny College, and orchestra (which had obtained a shofar for added authenticity) were conducted by David Milne. From the first chords of the Prelude his obvious sympathy with Elgar and this work was evident from his phrasing and mastery of his forces. The orchestral strings, although not large in number, produced a mellow full tone supporting, in particular, a gloriously liquid toned clarinet and plaintive oboe. The brass section blazed and growled menacingly, especially in Judas's soliloquy. Chorus and soloists all were exemplary in their diction (from the back of the hall it would have been possible to transcribe texts such was the clarity of delivery). As in most choirs, we would have welcomed more men to give extra depth and a more rounded balance.

Of the soloists, Mary Callan Clarke (Virgin Mary/Angel) opened a little diffidently but quickly got into her stride and sang with a warm bright clarity, floating effortlessly over the multi-layered textures of the finale. Louise Winter, replacing at two days' notice Patricia Bardon who was unwell, brought great conviction to her role of The Magdalene - a deeply troubled woman, not a hysteric as she can appear. Andrew Boushell (Narrator/St John) was a clear lyric tenor. Jeffrey Ledwidge - a 'John Carol Case' * Jesus - produced a fine gentlemanly sound: a very consoling voice, but would I follow him 'forsaking all other'? Eoin Supple and John Milne - St Peter and Judas - gave of their best to both roles. Peter's desperate denials and Judas's disillusion and despair were well characterised. The soliloquy is a great test and at times the upper registers stretched Mr Milne. The choir had said their last rehearsals were challenging. If so, it was not evident on the night. The transition from piano to orchestral rehearsal is always a shock. All involved had much to be proud of.

The choirs, orchestra and soloists, guided and nurtured by David Milne, are to be thanked for their enterprise and commitment in bringing this still under-performed and underrated masterpiece to an audience hopefully eager to hear and learn more of Elgar's output. I certainly was glad to have been among their number.

Martin Passande

* John Carol Case: famous English baritone who was chosen by Sir Adrian Boult for his recording of The Apostles.

Reprinted by permission of the author.

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