Prom 37. Berlioz: L’Enfance du Christ
Halle Orchestra, Maxime Pascal
Britten Sinfonia Voices, Genesis Sixteen
Royal Albert Hall, 14 August 2019
L’Enfance du Christ is a curious work to programme in the vast space of the Royal Albert Hall for a Berlioz anniversary Prom. The gently reflective nature of the unfolding story seems to demand a sense of intimacy, whereas works such as the Te Deum cry out for such a setting. The genesis of L’Enfance du Christ is a fascinating one. Berlioz wrote a tiny organ piece into an architect’s album during a card-playing party in 1850. Realising the nature of his creation, he immediately added some words and gave birth to the famous ‘Shepherds’ Farewell’ (L’adieu des bergers). He added it to his next concert with a hoax billing as by a forgotten 17th-century composer, named after the architect who asked for the little musical momento. Four years later, it would later form the centre-point of what he termed a ‘sacred trilogy’ – L’Enfance du Christ, a three-section oratorio. Continue reading
Britten: War Requiem
English National Opera
The Coliseum, 16 November 2018
English National Opera has a record of performing Benjamin Britten operas, as well as creating operas from the Bach Passions and other choral works, so it was no surprise that they would turn to Benjamin Britten’s famed War Requiem. As with the Bach Passions, when I first saw them staged, I was a little apprehensive as to what I was to see. Just how would they stage a work with such vastly contrasting moods and scenes, combining the heart-wrenching poems of Wilfred Owen and the words of a traditional Latin Requiem Mass? Britten himself accented this contrast by giving the two male soloists who sing the Owen poems their own chamber orchestra, to be positioned closest to the audience and with its own conductor. The Requiem settings are for a large chorus and orchestra and a soprano soloist, together with boys choir and accompanying organ which are to be situated some distance away from the main orchestras.
Sally Beamish: The Judas Passion
Orchestra & Choir of the Age of Enlightenment, Nicholas McGegan
St John’s, Smith Square, 25 September 2017
One of many puzzles that leap from the pages of the Bible is the curious position of Judas Iscariot in the wider scheme of things. The synoptic gospels do not agree on his role or the story of his apparent ‘betrayal’ of Jesus: actually, a literal ‘handing-over’ or ‘delivery’ of Jesus if the word paradidomi is more correctly translated. Two of the gospels suggest that the ‘devil’ entered him, something that Jesus had already proved adept at dealing with by a bit of casting out. Why didn’t he do so on this occasion? And if, as seems likely, Jesus foresaw, and may have actively encouraged Judas’s paradidomi, then it was not an act of free will and should not be punishable, let alone seen as the ultimate betrayal for which the ‘loving and forgiving God’ has left the hapless Judas to be almost alone among the irrevocably damned, notwithstanding his clear remorse. And if preordained, why the personal condemnation of the man who fulfils the prophecy – “It would be better for that man if he had never been born”? It was one of many New Testament events that were, apparently, preordained in the Old Testament, the juggling of which has caused many problems of Christian interpretation.
Edward Armitage: The Remorse of Judas, 1866. Tate Britain