Felix MENDELSSOHN (1809-1847)
Elijah - oratorio for four soloists, SATB choir, orchestra and
organ, Op. 70 (1846) [121:08]
Michael Volle (bass), Andrea Rost (soprano), Marjana Lipovsek (alto), Herbert
Lippert (tenor), Letizia Scherrer (soprano), Thomas Cooley (tenor), Barbara
Fleckenstein (soprano)
Bavarian Radio Choir,
Bavarian Radio Symphony Orchestra/Wolfgang Sawallisch
rec. live 12 July 2001, Herkulessaal, Residenz, Munich, Germany
No texts provided
HäNSSLER PROFIL PH07019 [60:47 + 60:21] 
Elijah is considered one of the pinnacles of Mendelssohn’s output;
probably the most famous of all nineteenth century oratorios. It was Mendelssohn’s
second great oratorio and was completed just a year before his untimely death.
He had struggled with the idea of writing an oratorio on the subject for around
a decade. The main inspiration came in 1845 when the Birmingham Music Festival
committee commissioned him. As he had done with the earlier oratorio St.
Paul Mendelssohn requested that pastor Julius Schubring assist him in
preparing the text. They fashioned Elijah from Old Testament texts
largely from Kings I and II, depicting various events in the life of the Biblical
prophet. The score was supplemented by texts from the Psalms, Isaiah and other
Old Testament writings.
Edward Dannreuther, the German pianist and musicologist provided a splendid
assessment of Elijah: “The secret of the greater success - especially
in England – of the later oratorio, Elijah, lies in its dramatic scheme, and
in the enhanced opportunities for solo and concerted music which it afforded
the composer. In Elijah, Mendelssohn exhibits his talent at full maturity.
… Taken as a whole and compared with St. Paul, Elijah stands on a higher
plane. It is stronger in spirit, freer, broader, more direct, and less
tinged with Lutheran influences.” (Oxford History of Music, Vol. VI, ‘The
Romantic Period’ by Edward Dannreuther. Pub: Clarendon Press, Oxford (1905)
pg. 158.
Mendelssohn himself conducted the first performance in 1846 to great acclaim
before a packed audience at the Birmingham Music Festival held at the Birmingham
Town Hall. It has remained a staple of the choral music repertory ever
since.
Renowned Munich-born conductor Wolfgang Sawallisch uses German texts. In Part
1 the introduction So wahr der Herr, der Gott Israels, lebet (As
God the Lord of Israel liveth) is prefaced by a recitative for the bass
role of Elijah here assumed by Michael Volle. For worshipping Baal the curse
of a drought will afflict the people of Israel. The Overture in the
form of a fugue has a desolate mood that pertinently reflects the suffering
of the people. Giving an excellent account of themselves are the Bavarian
Radio Choir: Hilf, Herr! Hilf, Herr! (Help, Lord! Help, Lord!).
Worthy of special note is the darkly-coloured orchestral writing here performed
with distinction. No.2 Herr, höre unser Gebet! (Lord! bow thine
ear to our prayer!) includes a beseeching duet Zion streckt ihre Hände
aus (Zion speadeth her hands for aid) between lyric soprano Andrea
Rost and mezzo-soprano Marjana Lipovsek in the alto role. Together with the
chorus they sing with reverence and unblemished harmony. Obadiah’s aria in
No.4 So ihr mich von ganzem Herzen suchet (If with all your hearts
ye truly seek me) is sung by tenor Herbert Lippert appropriately devout
and with clear enunciation.
The troubled chorus of the people in No.5 Aber der Herr sieht es nicht
(Yet doth the Lord see it not) sing the curse motif that was heard
initially in the first section of the work. At 1:24 the chorale-like melody
with the lines Und tue Barmherzigkeit (His mercies on thousands
fall) from the choir provide a peaceful and welcome glimpse of blue sky
through dark and threatening clouds. Scored for double quartet in No.7 the
Angels sing Denn er hat seinen Engeln befohlen über dir (For
he shall given his Angels charge over thee). This is a wondrously tender
and inspiring pronouncement that God has commanded the Angels “to protect
thee”. No.8 Was hast du an mir getan, du Mann Gottes! (What have
I to do with thee? O man of God?) contains the moving widow’s aria sung
by soprano Andrea Rost imploring God to help her dying son. I was impressed
by Rost’s light, glowing voice so splendidly projected. With respectful affection
for the text Michael Volle as Elijah makes a moving request to a compassionate
God to help his widow’s son. In their duet at 5:41 Rost and Volle’s voices
finally come together with the words von ganzer Seele (With all
my soul) to create an inspiring devotional intensity.
For No.9, the reflective Wohl dem, der den Herrn fürchtet (Blessed
are the men who fear him), the Bavarian choir perform with wonderful unity
and assurance, acclaiming God’s grace, compassion and righteousness. Elijah’s
aria No.14 Herr, Gott Abrahams, Isaaks und Israels (Lord God of
Abraham, Isaac and Israel) has a consoling quality with Volle’s rich and
expressive bass beseeching the Lord for affirmation for his deeds to the people.
The SATB quartet in No.15 Wirf dein Anliegen auf den Herrn (Cast
thy burden upon the Lord) is a beautiful chorale. A restful and cordial
mood prevails as the quartet proclaims that the Lord will never allow the
righteous to fall. Elijah’s aria No.17 is a stern and unsettling warning Ist
nicht des Herrn Wort wie ein Feuer (Is not his word like a fire?).
Volle’s rich convincing tones with crystal clear enunciation adds to the powerful
meaning of the text. No.18 Weh ihnen, daß sie von mir weichen! (Woe
unto them who forsake him!) is a lyrical arioso for alto sung by Marjana
Lipovsek. Not the most beautiful of timbres but nevertheless most compelling,
her resounding tones are heavy with pathos and provide a stark warning to
transgressors that destruction will fall upon them. With the inundation approaching
quickly in No.19 the Bavarian Radio choir joyously portray the chorus of the
people offering enormous gratitude Dank sei dir Gott, du tränkest
das durst'ge Land (Thanks be to God. He laveth the thirsty land).
Part 2 of Elijah commences with No.21 Höre, Israel, höre des Herren
Stimme! (Hear ye, Israel, hear what the Lord speaketh) a substantial
and brilliant soprano aria. This is magnificent reverential singing from Andrea
Rost and her aria is a highlight of the release. Throughout I was struck by
Rost’s pleasingly bright tone, impressive projection and diction. I especially
enjoyed her delightful and praiseworthy delivery of the text Ich stärke
dich! (I will strengthen thee!). In No.22 the stirring chorus Fürchte
dich nicht, spricht unser Gott (Be not afraid, saith God the Lord)
is delivered with a fervent sacred conviction by Sawallisch’s Bavarian choir.
Dramatic and chilling, the chorus of the people announce in No.24 Wehe
ihm, er muß sterben! (Woe to him! He shall perish). Here extra
weight is given by the splendid percussion writing. The great aria No.26 Es
ist genug, so nimm nun, Herr, meine Seele (It is enough, O Lord, now
take away my life) is Elijah’s movingly sung plea to the Lord for death.
The tessitura of the writing seems to suit Volle’s very fine bass voice perfectly.
Another highpoint is the trio of Angels comprising sopranos Rost and Letizia
Scherrer and alto Lipovsek in No.28 Hebe deine Augen auf zu den Bergen
(Lift thine eyes to the mountain). This is heavenly singing.
I was struck by the reverence of their beautiful rendition of Deine Hilfe
kommt vom Herrn (Thy help cometh from the Lord). An inspiring and
fulfilling performance of Siehe, der Hüter Israels schläft noch schlummert
nicht (He, watching over Israel, slumbers not, nor sleeps) is
given by the impeccably blended members of the Bavarian Radio Choir. Lipovsek
as the Angel in No.31 Sei stille dem Herrn und warte auf ihn (O
rest in the Lord, wait patiently for him) is expressive and well
controlled in this radiant aria. The quartet of female soloists excel in No.35
Heilig, heilig, heilig ist Gott, der Herr Zebaoth (Holy,
holy, holy is God the Lord, the Lord Sabaoth). Combining unity and focus
the quartet, chorus and orchestra are expertly blended. I liked the conspicuous
trumpet part which provides additional colour.
Highly impressive was the long lyrical line of bass soloist Michael Volle
in No.37 Ja es sollen wohl Berge weichen (For the mountains shall
depart). Weaving in and out of the line the obbligato solo oboe added
to the poignancy. The tenor aria No.39 Dann werden die Gerechten leuchten
wie die Sonne in ihres Vaters Reich (Then shall the righteous shine
forth as the sun in their heavenly Father’s realm) is given a glowing
and pleasing rendition by Herbert Lippert. He is a tenor whose incisive voice
just grows and grows on the listener. In No.41 the section from point 3:13
for the quartet Wohlan alle, die ihr durstig seid (O come everyone
that thirsteth) of Volle (bass), Rost (soprano), Lipovsek (alto) and Lippert
(tenor). There is magnificent interplay within the quartet, skilfully controlled
and always aware of the appropriate degree of reverence. Movement No.42 Alsdann
wird euer Licht hervorbrechen wie die Morgenröte (And then shall your
light break forth as the light of morning breaketh) closes the work. The
powerful choral outburst from the Bavarian choir is simply stunning. Sawallisch
directs effortlessly managed singing of towering veneration. There’s dramatic
playing from choir and orchestra. The slowly burning applause at the score’s
conclusion adds to the atmosphere.
My first choice version of Elijah using a German text is conducted
by Frieder Bernius with the Kammerchor Stuttgart and Klassische Philharmonie
Stuttgart on Carus (SACD) 83.215. Bernius’s control over his choral and orchestral
forces is impressive and often exhilarating. Soloists: Letizia Scherer (soprano),
Renée Morloc (alto), Werner Güra (tenor) and as in the earlier Sawallisch
account Michael Volle (bass) are well chosen providing fresh and responsive
singing that is suitably reverential. Bernius recorded the oratorio in 2007
in the sympathetic and clear acoustic of the Evangelische Stadtkirche, Schwaigern,
Germany. More good news is that an English translation of the German text
is provided together with an exemplary English essay from eminent Mendelssohn
biographer Prof. R. Larry Todd. Bernius’s double set is the final volume in
the Carus label’s admirable twelve volume collection of Mendelssohn’s Complete
Sacred Choral Music (review).
I also greatly admire the recording of Elijah using a German text from
Helmuth Rilling conducting the Gächinger Kantorei Stuttgart and the Bach-Collegium
Stuttgart on Brilliant Classics 99953. I love Rilling’s great energy and consummate
control and his list of soloists impresses: Christine Schäfer (soprano);
Cornelia Kallisch (alto); Michael Schade (tenor) and Wolfgang Schöne (baritone).
Recorded in 1994 at the Liederhalle, Stuttgart the recording has first-rate
sound. This outstanding bargain Elijah is also coupled on the set with
Rilling’s fine St. Paul.
I have gained much enjoyment from Philippe Herreweghe’s version of Elijah
on period instruments with La Chapelle Royale, Collegium Vocale Gent and
Orch. des Champs Elysées. Using a German text this recording from Metz in
1993 has a pleasing cast: Petteri Salomaa (bass), Soile Isokoski (soprano),
Monika Groop (alto) and John Mark Ainsley (tenor). It’s on Harmonia Mundi
HMC901463/64.
For those wanting a version of Elijah sung in English I can highly
recommended the account conducted by Paul Daniel using a period instrument
orchestra and ‘starring’ Bryn Terfel as Elijah. Probably more dramatic then
reverential, the recording has been described by Alan Blyth as, “one of
the most dramatic performances of the oratorio on disc, operatic in the best
sense of the word.” Released in 1997 the cast comprises Renée Fleming
(soprano), Patricia Bardon (mezzo), Bryn Terfel (bass-baritone), the Edinburgh
Festival Chorus and the Orchestra of the Age of Enlightenment. It’s on London
Decca 455 688-2.
For me Sawallisch’s live recording on Profil with his well chosen soloists
and superb Bavarian forces meets all the requirements needed for this marvellous
oratorio. The sound quality is first class. The detail that I could hear was
remarkable and I found the balance across the large forces extremely satisfying.
The booklet is mainly in German and there are no texts provided. There is
however an essay in English. I am delighted to have this Sawallisch release
of Elijah in my collection and I will play it often.
Michael Cookson
I am delighted to have this Sawallisch release of Elijah in my collection
and I will play it often.