Elijah 2025Dundee Choral Union
Read more about the opera Elijah
Mendelssohn's superb drama appeared to be losing popularity a few years ago, but it seems now to be staging a well-deserved recovery. Hot on the heels of the closing concert at the Edinburgh Festival, with Christopher Maltman, here is a second performance.
It is fifteen years since the Dundee Choral Union last presented it - and the well-chosen protagonist then, Australian Derek Welton, is now an established Wagnerian, with appearances at Bayreuth to his credit. This year's Elijah, Dingle Yandell, seems to be developing his own career nicely. Later in the week he sang three performances of Messiah with the Dunedin Consort, and he returns to Scottish Opera in March for King Marke in Tristan. On this occasion he was on excellent form with his effortless velvety bass projecting beautifully in the vast hall, whether in his dramatic outbursts or more lyrical contemplation.
Jamie MacDougall is, of course, a familiar voice, with regular concert appearances to his credit. With Scottish Opera he seems only to do character parts nowadays. However he showed here that he is still, after a long career (he first sang Messiah in the Caird Hall as long ago as 1992), perfectly suited to the lyrical effusians of his characters.
Like the men, the two ladies originally announced also work regularly with Scottish Opera. Cheryl Forbes was indisposed but there was a superb substitute in the form of the rapidly developing Glaswegian mezzo Beth Taylor. She has already sung with several of the best orchestras in Britain and the USA and has been booked for her Met debut as well. We were very lucky to have her in the Caird Hall. She has a gorgeous smoothly-produced mezzo, every word clear and a lovely contralto register when required. Her characterisation was also outstanding, with a distinctly fearsome Queen Jezebel followed by a serene delivery of 'O rest in the Lord' by the Angel.
Two nights before this Elijah, Kira Kaplan, recently one of the Scottish Opera's Emerging Artists, sang a concert in Glasgow with this orchestra under Stuart Stratford - 'Mad Scenes' by Donizetti (Lucia), Bellini (Amina) and Ambroise Thomas (Ophelia). She is also fully engaged with both autumn and spring versions of the company's Highlights tours, the length and breadth of Scotland (surely a memorable time for a young American singer). Her roles in Elijah were clearly differentiated, and she launched the second half with her famous 'Hear ye, Israel' quite beautifully.
Two local singers also made notable appearances. Veteran bass Ken Murray emerged from the choir to make an effective contribution to the two quartets. Even more impressive was the Youth who makes an important contribution at the end of the first part, in a dialogue with Elijah. For this role, often given to a piping treble, we heard Alexandra Clark, one of the Dundee contingent of the National Youth Choir of Scotland. She sang with remarkable clarity and confidence. Her tone was astonishingly like a treble, but had a bit more power. In the second part she was joined by some fifteen or so of her colleagues.
In all, this was a thoroughly enjoyable account of Mendelssohn's choral masterpiece. Derek Clark was able to draw some lovely sounds from the orchestra of Scottish Opera, who are not heard often enough at this venue, with its famously warm acoustic.
