Anna Stéphany (mez), Nicky Spence (t), Andrew Foster-Williams (b-bar), Polish National Youth Choir, Gabrieli Roar, Gabrieli Consort, Gabrieli Players / Paul McCreesh (dir)

Signum Classics ★★★★★

A Dream of Gerontius from these forces is a mouth-watering prospect and McCreesh and his musicians do not disappoint in this their latest adventure in the major oratorio repertoire. With exemplary soloists – tenor Nicky Spence is outstanding in the title role – and a chorus largely made up of the Polish National Youth Choir and Gabrieli Roar, the latter Gabrieli’s innovative choral training programme in which young people are placed at the heart of professional work, the vocal forces alone are hugely promising. Inspired by McCreesh and his professional support team, the choral singing is outstanding – fresh voiced, with clear diction and 100 per cent-plus commitment. What a life-changing experience this must have been for these young people. As Mahan Esfahani, an unexpected yet inspired choice as liner note writer, points out, in Gerontius, voices and instruments operate on almost equal footing, with Wagner, especially Parsifal, a major influence. McCreesh has lovingly recreated Elgar’s orchestra, using early 20th-century wind instruments, percussion and harps, as well as strings using mainly gut strings. The transparency of sound, especially when Elgar employs multiple divisions of the string orchestra, is fascinating and revealing, especially in terms of the dynamic range available. The details of the instruments (including Leon Goossens’s Lorée oboe no less) are catalogued in the booklet and McCreesh’s notes give contextual explanation. The whole is a remarkable achievement and provides an important document in our appreciation of Elgar’s masterpiece. But more than that, it’s a thrilling performance that should grab the attention of anyone who loves Gerontius.

This review originally appeared in the Summer 2024 issue of Choir & Organ magazine. Never miss an issue – subscribe today