It is unfortunate for the worthy CRD Gerontius that the Boult/EMI, which is so much more authoritative and inspired, should appear on CD at the same time. As the EMI also manages to include The Music Makers (under Boult's direction) there can be no doubt which is the better buy. As readers and critics keep pointing out, companies must provide value for money at the high ask-price for CDs, and 91 minutes for two discs can only be justified in exceptional circumstances.
Where the EMI issue is particularly superior is in the performance and recording of the orchestra and chorus. Always of demonstration quality on LP, it now sounds even more immediate without any loss of spaciousness, and Boult obviously inspired his forces to give of their very best.
I must, however, enter one very important reservation as regards the EMI. I have found on repeated listening Nicolai Gedda's Gerontius less and less satisfactory. His style is intolerably effusive and operatic in the wrong sense, his intonation is often suspect, and his English, excellently idiomatic in accent, is too often misplaced in its musical enunciation. Tear's more central and straightforward reading, though not ideal, is much preferable. What they both lack is the fervour of Heddle Nash and Richard Lewis in the role, or the visionary quality evinced by Sir Peter Pears on the Britten/Decca set (LP only). Mention of Nash and Lewis makes me remember the two Sargent recordings, neither at present available in any medium. Even more than Boult, Sargent caught the urgency and incandescence of the work; his memory, ill-served at present on record, would be enhanced by a reissue of either recording, preferably the first.
Both Watts and Hodgson are admirably eloquent Angels, but Watts is, for me, special, so full of meaning in her grave utterance. Lloyd is the preferable bass-baritone, because he differentiates more definitely between the Priest and the Angel of the Agony; he is also scrupulously obedient to the score's markings.
As Boult takes 15 minutes longer over the work than Gibson, it is obvious that his tempos are broader, yet there is no want of a forward pulse in his reading or of dramatic elan—the Demons are splendidly vicious. Indeed at times Gibson seems hurried and/or matter-of-fact. With the welcome account of the seldom-heard, less inspired Music Makers to complement his Gerontius, Boult is the evident recommendation, but I hope that one or other Sargent and the Briteen will some day find their way on to CD, for a Gerontius with an unsatisfactory Gerontius has to be a flawed performance. We also have the recently recorded Rattle/CBSO version to look forward to.'