Three other great recordings
Mark Elder (conductor)
Another remarkable account from another distinguished Elgarian: Mark Elder. The Hallé Choir and Hallé Youth Choir in this 2008 recording create a colourful, virtuosic and secure structure around which the vocal drama unfolds and, again, the beautiful sound engineering allows every detail of Elgar’s score to breathe. This recording should be heard for Bryn Terfel’s Priest/angel of the Agony alone, though. His is by far the best performance available on record and he is the only singer who achieves that perfect balance between thundering authority and loving compassion. (Hallé CDHLD 7520)
John Barbirolli (conductor) Considered for decades to be the definitive Gerontius, Barbirolli’s 1965 release needs to be included on any list of recommended recordings. For many, the role of the Angel is virtually synonymous with Janet Baker’s rich and moving performance on this recording, which has become a benchmark for all subsequent performances. The recorded quality is reasonable but modern audiences are spoiled by a choice of technically
superior alternatives and, dare I say it, Barbirolli’s reading of the score is just not as accurate as the others listed here. (Warner Classics 573 5792)
Simon Rattle (conductor)
Janet Baker’s second recording as The
Angel conveys all the maturity and depth of someone who has lived and breathed the role for a further two decades. Her voice in this superb 1986 release has a darker and warmer hue and it’s a terrific alternative reading. Elgar’s skill as an orchestrator often goes unmentioned but Rattle and the City of Birmingham Symphony Orchestra bring out all of the score’s colour and textures as careful attention is paid to every last detail. (Warner Classics 749 5492)
And one to avoid…
There is much to recommend Daniel Barenboim’s 2017 recording. The Staatskapelle
Berlin is as virtuosic and warm as you would expect and Catherine Wyn-rogers is a superb, distinctly human Angel. But while Barenboim guides us capably through the score, the performance lacks the breadth and breathing space of other recordings and it’s too easy to lose sight of the fact that this is primarily a vocal work. Not so much one to avoid, perhaps, as one not to listen to first.