Edward Gardner's vibrant new album of Elgar's The Dream of Gerontius is not just a worthy addition to an already star-studded discography, but a bold and dramatic reading that catapults the iconic work into the spotlight.
In a performance that is at once propulsive and intense, Alan Bennett's 1965 play gets a thrilling makeover courtesy of Gardner's vivid staging and the London Philharmonic Orchestra. The ensemble delivers a masterclass in dramatic tension, with each musician and singer bringing their A-game to the table.
Tenor Allan Clayton shines as the dying man whose every sensation is both a terror and a fascination, his heroic tone electrifying in the great prayer Sanctus Fortis. Meanwhile, mezzo-soprano Jamie Barton brings a tangible immediacy to her role, imbuing it with reserves of comfort that are nothing short of remarkable.
Bass James Platt, meanwhile, proves himself to be an excellent Angel of the Agony, bringing a sense of gravitas and pathos to the role that is hard to shake. But it's Gardner who truly steals the show, his intensely dramatic conducting imbuing every moment with an operatic boldness that is nothing short of breathtaking.
The London Philharmonic Orchestra plays as if possessed by demons, their combined forces matched only by those of the Hallé choir in a truly epic soundscaping that elevates the music to new heights. If there's one criticism to be levelled, it's that the acoustic can sometimes rob the recording of its last ounce of immediacy, but overall this is an achievement that ranks alongside the likes of Nicholas Collon's award-winning Finnish account, released just earlier this year.
In a performance that is at once propulsive and intense, Alan Bennett's 1965 play gets a thrilling makeover courtesy of Gardner's vivid staging and the London Philharmonic Orchestra. The ensemble delivers a masterclass in dramatic tension, with each musician and singer bringing their A-game to the table.
Tenor Allan Clayton shines as the dying man whose every sensation is both a terror and a fascination, his heroic tone electrifying in the great prayer Sanctus Fortis. Meanwhile, mezzo-soprano Jamie Barton brings a tangible immediacy to her role, imbuing it with reserves of comfort that are nothing short of remarkable.
Bass James Platt, meanwhile, proves himself to be an excellent Angel of the Agony, bringing a sense of gravitas and pathos to the role that is hard to shake. But it's Gardner who truly steals the show, his intensely dramatic conducting imbuing every moment with an operatic boldness that is nothing short of breathtaking.
The London Philharmonic Orchestra plays as if possessed by demons, their combined forces matched only by those of the Hallé choir in a truly epic soundscaping that elevates the music to new heights. If there's one criticism to be levelled, it's that the acoustic can sometimes rob the recording of its last ounce of immediacy, but overall this is an achievement that ranks alongside the likes of Nicholas Collon's award-winning Finnish account, released just earlier this year.
I gotta say, Gardner's take on Elgar's The Dream of Gerontius is MIND-BLOWING! It's like he took a masterpiece and gave it a total modern revamp without losing its soul. The way the orchestra comes together to create this epic soundscapes is just WOW 
. And can we talk about the cast? Allan Clayton as the dying man? JAMMING 
! Jamie Barton bringing comfort and immediacy to her role? CHILLS 
. But what really gets me is how Gardner's conducting brings out this operatic boldness that just makes you feel something DEEPLY 
. The only thing that keeps it from being a 10/10 is the acoustic, but honestly, even that's not enough to bring me down 
.
. alan clayton as tenor is insane 
and jamie barton's mezzo is like butter for your soul 
. but honestly, edward gardner is the real MVP - he just makes that music come alive in a way i've never heard before 
the london philharmonic orchestra sounds amazing too, it's like they're possessed by some kind of musical energy 
his voice just gives me chills every time... anyway, i'm not surprised edward gardner is getting so much praise, he always had a knack for making classical music feel alive & exciting
Tenors are always a tricky role to play, but I think Jamie Barton's mezzo-soprano skills would've been amazing in this part. Just saying 
But yeah, some people might say the acoustic isn't perfect, but honestly, it just adds to the drama 
. JAMIE BARTON AND JAMES PLATT ARE ALSO ABSOLUTE ROCKSTARS IN THEIR ROLES 
. I'm not buying it (no pun intended). The London Philharmonic Orchestra is talented and all, but I bet the conductor, Edward Gardner, has been hyping this up so much on social media that everyone's just eating out of his hand 
. Anyway, if you're a die-hard Elgar fan or just want to listen to some over-the-top classical music, be my guest 
. But for me, it's a hard pass...
gotta listen to this stuff ASAP 
. And that voice? 
(I think). Anyway, if you're gonna listen to this album, make sure you have good speakers or headphones, 'cause that sound is EPIC 
, James Platt as the Angel is all about gravitas 
! The London Philharmonic Orchestra and Hallé choir are absolute fire 
. Still, this album is on par with some amazing stuff out there - Nicholas Collon's Finnish account is my new fave 
but edward gardner steals the show with his bold conducting, it's like operatic magic