Music Review: Choral Society performs an inspired 'Gerontius'

In the powerful oratorio "Dream of Gerontius," the bell that tolls is one that tolls for every man.

Such is the universal appeal of Edward Elgar's momentous and rarely presented work that the Sacramento Choral Society and Orchestra performed vividly Saturday evening at the Community Center Theater.

Under the direction of Donald Kendrick, who conducted the 90-minute work from memory, its soloists, chorus and orchestra were on the same inspired page throughout.

Key to this work, which Elgar completed in 1899, is the 900- line poem by John Henry Newman that serves as its libretto. The poem begins with a man named Gerontius on his death bed. In Part 2, Gerontius transits to the afterlife, which in turn leads to a redemptive end in Purgatory. As such, this oratorio adds much Catholic-inspired food for thought about how terrifying, or rewarding, it can be to meet one's maker.

Crucial to relaying this tale is doing it with fervor. And fervor is what characterized the singing of tenor Richard Clement as Gerontius. Clement's presence was a great asset to this highly operatic oratorio, which is based on the idea that a human life is both great and minuscule.

Clement embodied both notions and filled them with his warm and supple lyric tenor. He was also extremely effective in communicating a man cast into the unknown. And in moments where he had to sing softly, Clement always offered something deep and meaningful.

Kathleen Moss, in the role of the Angel, offered a well-rounded mezzo-soprano. Her singing was appropriately brooding, and richly exultant where demanded. In the role of the Angel of Agony, Sean Cooper filled the hall with his booming bass-baritone. But it was, at times, delivered with fuzzy diction. Some wobbly moments also crept in at the end of lines.

The chorus, which Elgar uses sparingly in "Gerontius," sang with sophistication and dramatic grit. There are some incredibly fluid but unconventional choral moments in this work, and these 180 musicians handled those with a red-blooded urgency.

From an orchestral standpoint, Elgar's music must mirror the inner turmoil of its central character. A variety of meters and textures are necessary to that end. And in fulfilling those demands, this orchestra never sounded better. Despite some loud playing, which in parts drowned out the singers, it was a winning orchestral performance. And with the fine work by soloists and chorus, it was a win-win situation.

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