{"product_id":"mendelssohn-elijah","title":"Mendelssohn: Elijah","description":"\u003cb\u003eA highly desirable account. \u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e   \u003ci\u003eElijah\u003c\/i\u003e (  \u003ci\u003eElias\u003c\/i\u003e in German)  \u003ci\u003e\u003c\/i\u003e is one of the pinnacles of Mendelssohn’s output and is probably the most famous of all nineteenth century oratorios. It’s his oratorio, a late work completed in 1846 just a year before the composer’s untimely death. As he had done with his earlier oratorio  \u003ci\u003eSt. Paul\u003c\/i\u003e (  \u003ci\u003ePaulus\u003c\/i\u003e in German)  \u003ci\u003e\u003c\/i\u003eMendelssohn requested that the theologian pastor Julius Schubring assist him in preparing the text. Mendelssohn fashioned  \u003ci\u003eElijah\u003c\/i\u003e from Old Testament texts largely from the first book of Kings based around significant events in the life of the Biblical prophet Elijah. Designed in two parts the score was supplemented by texts from Kings II, Psalms, Isaiah and other Old Testament writings. \u003cbr\u003e    \u003cbr\u003e  Mendelssohn himself conducted the première to great acclaim before a packed audience at the Music Festival held at the Birmingham Town Hall in England. A score much loved by audiences and choral societies alike it has remained a staple of the choral music repertory. For this recording the sound quality is excellent and the Profil label is to be congratulated for providing full German texts with an English translation.  \u003cbr\u003e  \u003cbr\u003e  Doris Hagel has since 1986 held the position of cantor at the Weilburger Schlosskirche. The German town of Weilburg is located roughly between Cologne and Frankfurt. Hagel and lutenist Lutz Kirchhof were responsible for creating the concert series ‘Alte Musik im Weilburger Schloss’ of which Hagel is artistic director and manager. Founded in 1992 the ensemble Capella Weilburgensis come together at the invitation of Hagel to perform sacred choral music at the Weilburg festival series or for special projects. Notably they play on period instruments employing period-informed performance practice. The Kantorei der Schlosskirche Weilburg specialise in sacred choral music singing throughout the main feasts of the church year. They have become known for their impressive performances of oratorios. In addition to their unaccompanied choral work the choir collaborate closely with the Capella Weilburgensis and L'arpa festante Munich orchestras.  \u003cbr\u003e  \u003cbr\u003e  The desolate mood of the brass-laden  \u003ci\u003eOverture\u003c\/i\u003e commands the attention and pertinently reflects the suffering of the drought-stricken Israelites. Splendidly sung by the Kantorei der Schlosskirche Weilburg the chorus proclaim their anguish:  \u003ci\u003eHilf, Herr! Hilf, Herr!\u003c\/i\u003e (  \u003ci\u003eHelp, Lord! Help, Lord!\u003c\/i\u003e. Worthy of special note is Mendelssohn’s darkly coloured orchestral writing here played with real assurance.   \u003cbr\u003e  \u003cbr\u003e  No.2  \u003ci\u003eHerr, höre unser Gebet!\u003c\/i\u003e (  \u003ci\u003eLord! bow thine ear to our prayer!\u003c\/i\u003e) includes a beseeching duet  \u003ci\u003eZion streckt ihre Hände aus\u003c\/i\u003e (  \u003ci\u003eZion spreadeth her hands for aid\u003c\/i\u003e) between two Israelites sung by soprano Christine Wolff and alto Britta Schwarz. The two soloists together with the Schlosskirche choir sing with a sure sense of piety and untarnished harmony. Obadiah’s aria in No.4  \u003ci\u003eSo ihr mich von ganzem Herzen suchet\u003c\/i\u003e (  \u003ci\u003eIf with all your hearts ye truly seek me\u003c\/i\u003e) is sung by tenor Markus Schäfer with clear diction and appropriate reverence. Scored for double quartet the Angels sing  \u003ci\u003eDenn er hat seinen Engeln befohlen über\u003c\/i\u003e  \u003ci\u003edir\u003c\/i\u003e (  \u003ci\u003eFor he shall given his Angels charge over thee\u003c\/i\u003e) (No. 7). This is a wondrously tender and inspiring pronouncement that God has commanded the Angels to “protect thee”. No.8  \u003ci\u003eWas hast du an mir getan, du Mann Gottes!\u003c\/i\u003e (  \u003ci\u003eWhat have I to do with thee? O man of God?\u003c\/i\u003e) contains the affecting widow’s aria. This is sung by soprano Christine Wolff imploring God to help her dying son. Wolff is radiant of voice and she projects magnificently. Giving reverential attention to the text Klaus Mertens as Elijah makes a moving request to a compassionate God to help the widow’s son. In their duet proper at 6:18 Wolff’s and Mertens’ voices combine in the words  \u003ci\u003eVon ganzer Seele\u003c\/i\u003e (  \u003ci\u003ewith all my soul\u003c\/i\u003e) - all inspiring devotional intensity. In the memorable No. 11  \u003ci\u003eBaal, erhöre uns!\u003c\/i\u003e (  \u003ci\u003eBaal, we cry to thee\u003c\/i\u003e)  \u003ci\u003e\u003c\/i\u003ewith the people of Israel appealing to God for a response the Kantorei der Schlosskirche sing with fervour yet maintain a fine unison. Elijah’s admonition aria No.14  \u003ci\u003eHerr, Gott Abrahams, Isaaks und Israels\u003c\/i\u003e (  \u003ci\u003eLord God of Abraham, Isaac and Israel\u003c\/i\u003e) has a certain consoling quality. With his expressive bass-baritone and striking enunciation Klaus Mertens beseeches the Lord for affirmation for his deeds on behalf of the Israelites. No.17  \u003ci\u003eIst nicht des Herrn Wort wie ein Feuer?\u003c\/i\u003e (  \u003ci\u003eIs not his word like a fire?\u003c\/i\u003e) is sometimes known as Elijah’s rage aria. Here the rich and assuring tones of Klaus Mertens with his clear diction serve to accentuate Elijah’s stern and unsettling warning. A lyrical  \u003ci\u003earioso\u003c\/i\u003e No.18  \u003ci\u003eWeh ihnen, daß sie von mir weichen!\u003c\/i\u003e (  \u003ci\u003eWoe unto them who forsake him!\u003c\/i\u003e) is a stark warning to transgressors that destruction will fall upon them. It is beautifully sung by alto Britta Schwarz. With highly appealing timbre Schwarz’s compelling and resounding tones are suffused with pathos. \u003cbr\u003e    \u003cbr\u003e  Part 2 commences with section No.21  \u003ci\u003eHöre, Israel, höre des Herren Stimme!\u003c\/i\u003e (  \u003ci\u003eHear ye, Israel, hear what the Lord speaketh\u003c\/i\u003e). This is a substantial and brilliant soprano aria written by the composer with Jenny Lind ‘the Swedish Nightingale’ in mind. Here we find magnificently reverential singing from Christine Wolff - a real highlight of this release. Throughout I was struck by Wolff’s agreeable and extremely bright tone together with her splendid projection and diction. At 3:00 I especially enjoyed her assured delivery of the text  \u003ci\u003eIch stärke dich!\u003c\/i\u003e (  \u003ci\u003eI will strengthen thee!\u003c\/i\u003e). The renowned aria No.26  \u003ci\u003eEs ist genug, so nimm nun, Herr, meine Seele\u003c\/i\u003e (  \u003ci\u003eIt is enough, O Lord, now take away my life\u003c\/i\u003e) is Elijah’s movingly sung plea to the Lord for death. The tessitura of the writing admirably suits Klaus Mertens marvellous bass-baritone voice. Another well known section is No.28  \u003ci\u003eHebe deine Augen auf zu den Bergen\u003c\/i\u003e (  \u003ci\u003eLift thine eyes to the mountain\u003c\/i\u003e) for the trio of Angels. We are treated to quite delightful singing from the sopranos Elke Rehwald-Stahl and Almut Diemer, and alto Dorothée Zimmermann; I assume that they are members of the choir. Another highlight follows with Britta Schwarz as the Angel in No.31  \u003ci\u003eSei stille dem Herrn und warte auf ihn\u003c\/i\u003e (  \u003ci\u003eO rest in the Lord, wait patiently for him\u003c\/i\u003e). Schwarz is mightily impressive and gives a smoothly expressive and marvellously controlled account of her radiant alto aria. Also notable is the long lyrical line of bass-baritone Klaus Mertens as Elijah in the  \u003ci\u003earioso\u003c\/i\u003e No.37  \u003ci\u003eJa es sollen wohl Berge weichen\u003c\/i\u003e (  \u003ci\u003eFor the mountains shall depart\u003c\/i\u003e). Weaving in and out of the vocal line the solo oboe  \u003ci\u003eobbligato\u003c\/i\u003e adds significantly to the appeal. The tenor aria No.39  \u003ci\u003eDann werden die Gerechten leuchten\u003c\/i\u003e (  \u003ci\u003eThen shall the righteous shine forth\u003c\/i\u003e) is given a comforting rendition by Markus Schäfer. His fluid and attractive tenor seems perfect for the part. An extended dramatic outburst opens No.41. From 3:44 the section of the quartet  \u003ci\u003eWohlan alle, die ihr durstig seid\u003c\/i\u003e (  \u003ci\u003eO come everyone that thirsteth\u003c\/i\u003e) begins with the superb Wolff then followed in turn by Britta Schwarz, Markus Schäfer and Klaus Mertens. There is outstanding interplay between the skilfully controlled quartet of voices who pay appropriate attention to the sacred text. Movement No.42  \u003ci\u003eAlsdann wird euer Licht hervorbrechen\u003c\/i\u003e (  \u003ci\u003eAnd then shall your light break forth\u003c\/i\u003e) closes the oratorio. I found the mighty dramatic outburst from the Weilburg choir simply stunning. Hagel directs with assurance, at a beautiful pace and with appropriate reverence. The choir and orchestra are in immaculate form and can stand comparison with the finest.  \u003cbr\u003e  \u003cbr\u003e  Rubbing shoulders with this 2011 recording using period instruments is my other first choice conducted by Frieder Bernius with the Kammerchor Stuttgart and Klassische Philharmonie Stuttgart on Carus (SACD) 83.215. Bernius’s control is memroable and often exhilarating. The soloists Letizia Scherer (soprano), Renée Morloc (alto), Werner Güra (tenor) and Michael Volle (bass) are well chosen. This is fresh and responsive singing informed by a sense of devotion. Bernius recorded the oratorio in 2007 in the sympathetic and clear acoustic of the Evangelische Stadtkirche, Schwaigern, Germany. 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 a twelve volume Carus collection of Mendelssohn’s  \u003ci\u003eComplete Sacred Choral Music\u003c\/i\u003e. \u003cbr\u003e    \u003cbr\u003e  Also on Profil is Wolfgang Sawallisch’s splendid live 2001 Munich recording. Sawallisch’s superb Bavarian Radio Orchestra and Choir meet all the requirements for this marvellous oratorio. The fine cast of soloists are Michael Volle (bass), Andrea Rost (soprano), Marjana Lipovsek (alto), Herbert Lippert (tenor), Letizia Scherrer (soprano), Thomas Cooley (tenor) and Barbara Fleckenstein (soprano). Recorded in the excellent acoustics of the Herkulessaal, Munich, the first class sound quality impresses with much fine detail and well judged balance (Edition Günter Hänssler PH07019.   \u003cbr\u003e  \u003cbr\u003e  For those wanting a recording sung in English I can recommend the account conducted by Paul Daniel using the period instrument forces of the Orchestra of the Age of Enlightenment and the Edinburgh Festival Chorus. An added attraction for many is distinguished bass-baritone Bryn Terfel in the role of Elijah. Clearly dividing opinion Daniel’s account emphasises more of the dramatic element and is not quite as reverential as many other versions. Released in 1997 Daniel’s cast also includes Renée Fleming (soprano), Patricia Bardon (mezzo) and John Mark Ainsley (tenor). It’s on Decca London 4556882.  \u003cbr\u003e    \u003cbr\u003e  In summary, Doris Hagel directs a highly desirable account of Mendelssohn’s  \u003ci\u003eElijah\u003c\/i\u003e.   \u003cbr\u003e  \u003cbr\u003e  -- Michael Cookson , MusicWeb International\u003cbr\u003e","brand":"Profil","offers":[{"title":"CD","offer_id":49634234728728,"sku":"881488120349","price":18.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/2017561.jpg?v=1777923780","url":"https:\/\/hbdirect.com\/products\/mendelssohn-elijah","provider":"HBDirect","version":"1.0","type":"link"}