Elijah (Paul Daniel;  Bryn Terfel, Renee Fleming, Patricia Bardon, John Mark Ainsley)  (2-London 455 688)
Item# OP0190
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Elijah (Paul Daniel;  Bryn Terfel, Renee Fleming, Patricia Bardon, John Mark Ainsley)  (2-London 455 688)
OP0190. EIJAH (Mendelssohn)), recorded 1997, w. Paul Daniel Cond. Edinburgh Festival Ensemble; Bryn Terfel, Renée Fleming, Patricia Bardon, John Mark Ainsley, etc. 2-London 455 688, Slipcase Edition w.Elaborate 37pp. Libretto-brochure. Final Copy. - 028945568829


“In Bryn Terfel we had a very authoritative Elijah; there aren’t too many singers who could bring such vocal command to the role, the voice itself seeming to guarantee the character’s prophetic powers. As a piece of vocal characterisation it was remarkable. And, yes, there were many of the qualities Mendelssohn imagined in his Elijah - a sense of brooding menace, of fanaticism, of both a scorn and (occasionally) a sympathy for human frailty which somehow seemed not merely human. Terfel has, of course, made a recording of this work - conducted by Paul Daniels, some ten years ago, on Decca - which is one of the finest recorded versions. Terfel was a voice of irresistible authority, capturing Elijah’s nearness to spiritual arrogance. His affirmation at the close of that ‘battle’ for power – ‘Is not his word like a fire’ - was a superb piece of musical declamation. If there were the slightest hints of imperfection, they came in some of the tenderer passages. In ‘It is enough’, Terfel’s experience in Bach and Handel fitted him well to handle the sarabande rhythms that underlie this poignant aria, and the whole was very moving. But, just occasionally, there were the slightest moments of ambiguity and uncertainty in the sotto voce passages. But such a quibble aside, this was a towering performance, richly vivid and, though quite without histrionic action, as convincing a piece of characterisation as one might hope to encounter on the operatic stage.”

- Glyn Pursglove, MusicWebInternational