ARTHUR SULLIVAN - The Light of the World [SACD Hybrid Multi-channel]

I will need to play this many times more to decide, but first and second impressions are good. Though Sullivan rather repudiated the idea that this was Mendelsohnn influenced, there are obvious influences. If you find Victorian religious music hard to take you may not care for this, but I think it has enough good qualities to override such dislike. It is well orchestrated, melodious and does not descend into mawkish religiosity. Chorus, Orchestra and soloists all excellent.

The first professional recording of an EPIC oratorio, with lovely lyrical songs taken directly from the Gospels. AWESOME! Also on Amazon: professional recordings of Sir Arthur Sullivan’s Ivanhoe and Haddon Hall, and Gilbert’s The Mountebanks. BUY THEM!

I think I can safely say that this release has given me more pleasure than any other CD purchase of recent months: The music is so good that I have developed a bit of an obsession with it. My tastes are wide, and I like discoveries off the beaten track, but I know quality when I hear it.This recording of Sullivan’s The Light of the World marks the continuing re-evaluation of a composer who had been much-maligned. The accepted wisdom was that he had frittered away his talents on the Savoy Operas (and think of the marvellous music they contain!), rather than devoting himself to ‘serious’ music (The fact is that there was no distinction between serious and light music in Sullivan’s output: he would apply the same techniques in each).As if that wasn’t bad enough, he is then criticised for the serious music he actually wrote, often without any modern critic having listened to the music itself. This Oratorio, his magnum opus, is a case in point: The choruses have long been written off as dull without anyone even having heard them. As the recent release of ‘On Shore and Sea’ demonstrated, given a committed performance, Sullivan’s works are vivid, vibrant and valid when their reputation has suggested that there was little worth listening to.Even favourable releases damn with faint praise in their CD notes. My rule of thumb with programme notes is that they should always make the best case possible for the work on the disc- after all, if you’re persuading me to buy something, why underplay it? The CD notes on this issue are a model of their kind: they put the work into context, explaining its musical techniques and significance, and prepare you to listen with fresh ears. But then, this is not music that anyone has to make any excuses for.Towards the end of his life, Sullivan was offered The Dream of Gerontius to make a musical setting, but had neither the time nor the strength to give it consideration: Having both The Golden Legend (someone please release the Leeds Festival BBC Broadcast of this!) and The Martyr of Antioch on disc, I have to confess that I thought he would have been temperamentally unsuited to Newman’s words. However, listening to The Light of the World, I now realise that there are major precursors to Elgar’s masterpiece, not least in the parallel between how Sullivan sets the words of Jesus and Elgar Gerontius.In both cases the sound worlds of the pieces move around their central figures. Though Gerontius is a more overtly dramatic figure, he is still more of a catalyst than a protagonist and I’ve always thought you need an operatic tenor, rather than a weedy Peter Pearsish lieder singer. Here, with Jesus, you have an operatic baritone who can project the simplicity and directness of the words without being swallowed up by the music around him. Neither Jesus nor Gerontius has the last word, so it is important that they can make the kind of impact which stays with the listener to the end of the work.Some of the Chorus writing is also a forerunner of Gerontius- the commentary in the Temple, where they play the increasingly indignant crowd, is not a million miles away from the demons and angels of Elgar’s piece.This recording is a triumph which blows away the prejudices and misguided criticism and reveals a deeply-felt and memorable piece of music. It has scale, vision, musicality. Sullivan was above all a practical musician. He knew the abilities of his performers and he understood that even with an overtly religious piece your singers need to enjoy and be challenged by the vocal line. There’s nothing humdrum about the choral writing which is accessible but also very satisfying: even at its simplest, this music is not automatically easy. Sullivan shows his Chapel Royal upbringing, as much of the chorus writing comes from the metrical psalm singing he would have undertaken as a chorister as part of services at St James ‘s Chapel- that is, patterns of speech shape the sung words. This declamatory focus is especially important when dealing with a large choir, and it’s worth remembering that Sullivan’s choral performances often involved more than 400 singers. Unobtrusively, Sullivan also ensures that the more complicated choral lines are underpinned orchestrally, usually by a brass instrument.I was constantly surprised by the sound world which Sullivan creates- it is like little else in his output. As ever, he uses his orchestra with great subtlety, but makes use of his forces where it counts. We range from bare stripped-back strings to full orchestra, choir and organ. None of it is prolix. There are some surprising touches: who would have expected a Russian Orthodox Antiphon for ‘The Lord is Risen’? (He even manages some Russian speech patterns in the sung text). Or an overture to the second part (Jerusalem) which would make a superb concert work on its own? (in fact the overture is a genuine dramatic precursor to Christ’s entry into Jerusalem: it is not simply the triumphant- or triumphalist- arrival of a conquering hero, there is a darker, nervous thread which indicates that there is tragedy to follow too). He is not afraid to show his enthusiasms: Donizetti is not a million miles away, as the final chorus of the Bethlehem section (I will Pour My Spirit’) shows, with its feeling of na operatic Act one finale (the sharp eared may hear an emphatic precursor of the Policemen’s chorus ‘When the Foeman bears his Steel’ in the chorus of the Shepherds ‘This is the Lord we have waited for him..’).But what will really knock the nay-sayers sideways is the structure of the oratorio, the sophisticated way in which Sullivan uses thematic elements to give the work cohesion: he sets the scene with introductory sections which are then the germ of much of the following melodic content. It isn’t leitmotif as such- we don’t have themes associated directly as identifiers for different characters- but with pointers, sometimes emotions, within the narrative. The listener is then reminded of other episodes in the story (for example when the theme which underpins the shepherds’ chorus returns when Jesus is preaching in Jerusalem). There is a genuine progression across the oratorio, an underlying arc of both the narrative and the music which gives the piece a firm geography.The music is often powerful and dramatic. There’s genuine feeling here, especially in the introduction to the section which deals with the story of Lazarus. The use of the children’s chorus is masterly, whilst the way in which Sullivan handles his combined forces in the final chorus of the piece reminded me not only of Liszt’s Faust Symphony, but also looked forward to Mahler’s Symphony no.8. Elsewhere, Sullivan demonstrates his thorough knowledge of the choral repertoire in subtle nods to Handel and Bach, but the musical language is firmly Sullivan’s own. I expected to be put off by an overriding Victorian parlour ballad sentimentality or shape of tune, but that is never the case in this piece. Even ‘And God shall wipe away all tears..’ (once more reputation got in the way it seems) turns out to be an affecting and memorable melody.The team of soloists assembled for this recording are of the highest calibre, but more importantly they are appropriately differentiated and balanced. They are given some tricky work to do, including stratospheric writing for soprano, and some highly exposed unaccompanied quartet and quintet singing, and it is easy to see how lesser singers could come to grief. Judging by the solo writing, Sullivan must have had his pick of the vocal talent of his day. Kitty Whately has a fine contralto voice which never tips over into matronliness: as the Angel she makes an overwhelming case for the quality of the vocal writing. Her firmness of tone brings the very best out of this music. Natalya Romaniw’s clear and powerful soprano is perfect for navigating the higher strata of the ensemble singing- important in such a large scale work (‘Tell Ye the daughter if Zion’ is one of my favourite highlights) this works to greatest effect in the exclamations above the chorus in ‘In Rama there was a Voice Heard’. Eleanor Dennis is affecting as Martha and Mary Magdalene with a genuine dramatic simplicity (for example in ‘Lord Why Hidest Thou thy face’). Robert Murray (tenor) and Neal Davis (bass) have varied work as a range of characters in this drama with too many distinctive touches for this review to do justice: suffice to say that they acquit themselves with aplomb. Ben McAteer has the trickiest part to bring off effectively, but triumphantly succeeds in conveying the authority of Jesus and making sense of the musical writing in this central role. He absolutely convinces. Where a lesser singer would have none of the gravitas and might be confused by the deceptively simple vocal line, he shows that a properly operatic baritone voice- Bryn Terfel would be wonderful in this too- can simply float those words out, with power and control, to make an overwhelming impression.The marvellous BBC Concert Orchestra proves, yet again, that it is the UK’s most versatile ensemble, with a phenomenal ability to grasp the milieu, the style, of whatever it tackles. They are a national treasure. Here, they sound as if they have been playing this score for years: the instrumental work is outstanding, particularly in the woodwind players who accompany the baritone solos. The brass work is superb, not least the crystal clear French horn section in the Hosannas.And what of the choral singing? The Kinder Children’s Choir bring a genuine freshness and innocence to their singing without the machined precision of a cathedral choir- ideally suited to this piece. The BBC Symphony Chorus are impressive. The mark of a good choir is not the full-on belt it out loud bits, but the control which a choir brings to the quiet ‘a capella’ sections: no worries here. Full marks for clarity of diction, cohesion and balance. This is a classy vehicle which can execute subtle changes of gear but has plenty of power under the bonnet.All this is surround sound. Wonderful.I seriously hope that this recording will inspire choral societies to take up this piece once again, not least because the choral writing is so satisfying- both to sing and to listen to. This recording will, however, be a hard benchmark to live up to! This should be nominated as a disc of the year.

Sullivan's 140 minute oratorio, first performed in 1873 has been rarely performed in the last hundred years, and head the reputation of being dull and uninspired. IT'S NOT! In fact, even though it is obviously Mendelssohnian in style, in spite of what the excellent booklet tries to tell us! it is, a very dramatic, memorable work. The crystal clear recording helps - the diction of the admirable BBC Symphony Chorus being superb, especially the men but much of the credit must go the conductor John Andrews who not only gives shape to the whole work, but moves it along so that it never becomes 'Victorian' in the worst sense of the word!! If you enjoy Elijah, you will certainly enjoy this! Just remember that it predates The Dream of Gerontius by 25 Years. One hopes that adventurous choral societies will take it up and that these CDs sell well. By the way, the soloists are all excellent, especially Ben McAteer and the BBC Concert Orchestra play the score as if they know it inside out, as always! Strongly recommended!

This is a large scale oratorio by the composer of the well-known comic operettas. Although it plummets no great emotional depths It is clearly a sincerely felt work but very much of its (Victorian) time. Given the subject matter it is not likely to be everybody's cup of tea other than a chance to hear Sullivan in serious mode. The text is a peculiarly eclectic mish-mash of quotations from the Old and New Testaments which jump about from one to the other. The music is attractive and accomplished. It is difficult to imagine that the performance could ever be bettered. The singing of soloists and choir (especially) is outstanding; the final chorus quite thrilling. The conductor holds it all together extraordinarily well and the recording is superb. It cannot bear comparison with Elgar's later oratorio of the same name which came over twenty years later but, taken at its face value, it is still an interesting work in its own right and we should be grateful to Dutton for its enterprise in making the recording.

I have been waiting for this recording to be made available ever since I knew it had been made and I was not disappointed - the quality of the performance was a revelation.My only gripe with Dutton is that they do not provide track details to Gracenotes which makes loading your disk onto iTunes a real chore - a small task for Dutton would make life so much easier.

This was a Sullivan work that was new to me and what a revelation it is! Sullivan is of course one of the very finest composers this country has ever produced and in this work which is very ambitious and lasts over 2 hours and recounts the earthly life of Jesus from Bethlehem to the resurrection on Easter Day. Apart from original Sullivan one can hear echoes of Mendlessohn and looking forward to Elgar in a score that is of the highest quality. All the score is engaging but parts of it transcend being merely engaging and raise you to the musical heights as some of the sections are profoundly moving and make the hairs stand up on the back of your neck. For example Sullivan's setting of the Palm Sunday story.No praise is too great for conductor, soloists and choir who are fully committed and passionate about this music and how it shows in the performance. The neglect of this work is unaccountable. As the BBC have been heavily connected with the recording one would hope that they would have the musical insight and judgement and schedule a performance at the Proms, when they restart, along with Sullivan's other big choral work, The Golden Legend. It would be nice if some of the big choral societies started performing some of this music, such as my local choral society in Huddersfield - and they don't come much bigger and better than the Huddersfield Choral.Highly recommended.