Classical review: Prom 19 - Hallé/Elder | Royal Albert Hall, London

Royal Albert Hall, London

It's a sign of the times that Mendelssohn's "Hymn of Praise" second symphony, so adored in mid-19th century Britain, has only been performed once at the Proms in the last 100 years before this week, while Berlioz's La Mort de Cléopâtre, spurned in the composer's own lifetime, is now regularly programmed. But if any conductor can make the cases for the two utterly contrasting works, it is Mark Elder.

The Berlioz half of the evening got off to a cracking start with a performance of the Benvenuto Cellini overture whose energy never faltered. But in Cléopâtre, the deeper and darker originality of Berlioz's genius was revealed, with Susan Graham the imperious mezzo soloist. In the closing pages, Graham and Elder extracted so much tension and drama from the work's fragmented and spare writing that, even at a distance of 180 years, one could see why the traditionalist judges of the Prix de Rome were shocked by the youthful Berlioz's composition.

Mendelssohn's second symphony has all the musical and spiritual equanimity that Berlioz's cantata eschews. But it is a highly original work nevertheless, lasting more than an hour, with three purely orchestral movements followed by a further nine for chorus and soloists, which achieves the feat of never once appearing to ape Beethoven's Ninth. It sprawls at times in the cantata sections, and Mendelssohn's writing occasionally seems to be set on cruise control, but the symphony is knitted together by a stirring recurrent theme, not unlike a Berlioz idée fixe, which announces the long opening orchestral Maestoso and which returns in the blazing choral hymn at the end. Elder took the symphony at a brisk pace, clearly determined that his momentum would carry the work through its more static pages. Steve Davislim's well-projected tenor stood out among the soloists and the Hallé Choir gave their all.

The Albert Hall was the perfect venue for this hybrid symphony-cantata, and it should not be another century before it is heard again at the Proms.

The Proms run until 12 September. Details: www.bbc.co.uk/proms

Contributor

Martin Kettle

The GuardianTramp

Related Content

Prom 9: Hallé/Elder – review

András Schiff's strikingly thoughtful account of Bartók's Third Piano Concerto really caught the attention – the opening movement quietly reflective and almost elegiac, writes Andrew Clements

Andrew Clements

22, Jul, 2011 @10:03 AM

Article image
The week in classical: Itch; Semele; Prom 16: Hallé/Elder – review
Jonathan Dove transforms Simon Mayo’s ripping yarn into an exhilarating instant classic; it’s Thebes by way of Port Talbot in Adele Thomas’s Glyndebourne debut; and all hail the Hallé

Stephen Pritchard

29, Jul, 2023 @11:30 AM

Proms 27 & 28: Hallé/Elder; BCMG/Volkov | Classical review

Royal Albert Hall, London
John Foulds's' eight-minute symphonic poem April – England is a far less ambitious work than his Dynamic Triptych, writes Andrew Clements

Andrew Clements

07, Aug, 2010 @12:03 PM

Prom 37: Hallé/Elder – review
If you're going to have a second-rate choral extravaganza by Elgar – and why not? – then these are the people to do it, writes Guy Dammann

Guy Dammann

12, Aug, 2012 @10:57 AM

Hallé/Elder | Classical review
Bridgewater Hall, Manchester
Mark Elder unleashed Mahler's revered Ninth with as much force as he could without the audience suing for assault, and ended it with a whisper, writes Alfred Hickling

Alfred Hickling

28, May, 2010 @8:59 PM

Hallé/Elder | Classical review
St David's Hall, CardiffThe Hallé were on suave form, with pianist Lars Vogt putting in a sparkling rendition of Beethoven's Third Piano Concerto, says Rian Evans

Rian Evans

04, Oct, 2009 @10:00 PM

Hallé/Elder | Classical review
Bridgewater Hall, Manchester
Capitalising from the relatively concise span of Mahler's Fifth, the Hallé under Mark Elder were on fire, writes Alfred Hickling

Alfred Hickling

07, Mar, 2010 @10:15 PM

Hallé/Elder, Bridgewater Hall, Manchester

Bridgewater Hall, Manchester

Alfred Hickling

08, May, 2008 @12:08 AM

Hallé/Elder - review
Mark Elder took the 'look-no-hands' approach to conducting in the final part of this programme, writes Alfred Hickling

Alfred Hickling

04, Oct, 2010 @8:45 PM

Hallé/Elder – review
Mark Elder's expansive conducting put some of the air back into Beethoven's Sixth, writes Alfred Hickling

Alfred Hickling

20, Jan, 2012 @6:15 PM