Felix Mendelssohn: Elijah // Sir Antonio Pappano & LSO

Watch our latest UA-cam Sunday clip featuring Mendlessohn's Elijah conducted by Sir Antonio Pappano featuring the LSO, the London Symphony Chorus with soloists Masabane Cecilia Rangwanasha, Dame Sarah Connolly, Allan Clayton and Gerald Finley at the Barbican in 2023.
'Elijah is like an opera. It comes right at you, and the choruses are overwhelming, and yet it also has lyrical moments, the oases of calm that make this piece just so beautiful.' (Sir Antonio Pappano)
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[@LondonSymphonyOrchestra]

💿Listen to the full album: lnk.to/MendelssohnElijah11

[@WodehousElliot-v5q]

Crist Common

[@AndrewLumsden]

Who the hell decided it would be a good idea to change the wording of the opening sentences? 🙄😖🤬 Stopped watching immediately at that point. I would probably have walked out, too, if I had been there.

[@paullewis2413]

Well if this was sung in German, which it often is, I wouldn’t even be aware of any change in the wording. I listen to the work for the music and quality of the conducting, orchestra, soloists and chorus. I must admit the actual words are of little importance to me unless of course they were in English and changed to such an extent as to have no relevance whatsoever to the narrative.

[@PenelopeChin]

@@paullewis2413 Somehow, with regards to the text which is also taken from the context of the Old Testament like Haydn's Creation, the English translation gives a very different nuance compared to the original German text. More of a pleading lamentation rather than catastrophic helplessness surrounded by cruelty. I am personally biased towards Maestro Kurt Masur's version with the Leipzig orchestra in terms of musicality, choice of tempi, form and style not only because the character provided by the German diction has a stern conviction which delivers the context in a more musically serious manner. Maestro Pappano's version with the LSO has its justification though. He stretched the tempi and at the same time took a different approach with the "Half, Herr!" phrasing, leaning towards a more operatic sort of chorus entry while delivering the word painting of the composition semiotics in a different manner. Although I am set with my bias, one should also not disregard that this interpretation is also a valid entry. It's been a long time since I did enough readings to make a scholarly referenced comment... I am just writing from the knowledge I have in the back of my head and so, please do forgive if there could be any inaccuracies. Good day! 🌻🧡