The Bournemouth Symphony Orchestra, in collaboration with the Oxford Bach Choir and a distinguished quartet of soloists, delivered a powerful and convincing performance of Edward Elgar's oratorio The Kingdom at Oxford's historic Sheldonian Theatre. Conducted by Benjamin Nicholas, this rendition breathed new life into a work that has long been overshadowed by Elgar's more famous compositions, such as The Dream of Gerontius and The Apostles.
The Historical Context of Elgar's Unfinished Triptych
Elgar originally envisioned a grand choral triptych chronicling the foundation of the Christian church, beginning with The Apostles in 1903 and intended to conclude with The Last Judgement, which was never composed. The Kingdom, created in 1906, serves as the central panel of this incomplete sequence. The composer's waning inspiration and fading Catholic faith left the narrative unresolved, contributing to the oratorio's reputation as the lesser sibling in his choral output.
Why The Kingdom Has Been Overlooked
Often dismissed as the runt of the litter, The Kingdom lacks the operatic flair of The Dream of Gerontius and the dramatic intensity of The Apostles, which encompasses pivotal events like the crucifixion and resurrection. Instead, it focuses on the aftermath and the grassroots evangelism of the early Christian church—a theme that may not seem as headline-grabbing. However, much like poet WH Auden's fascination with the apostles' ordinariness in his lyrics for Walton's The Twelve, Elgar transformed this simplicity into something radiant and profound.
A Performance That Invites Shared Experience
While The Dream of Gerontius often commands awe through solo virtuosity, The Kingdom offers a more inclusive experience, inviting listeners to find reflections of themselves in the music. Under the baton of Benjamin Nicholas, the Oxford Bach Choir—which Elgar himself conducted in a 1911 performance of the oratorio—and the Bournemouth Symphony Orchestra created an immersive soundscape. Despite the tight confines of the Sheldonian, their substantial sound engulfed the audience, making the performance dramatically effective.
Highlights from the Sheldonian Stage
The concert featured moments of breathtaking intensity, such as the darting choral entries depicting Pentecostal tongues of flame and the rushing "mighty wind" evoked by harp and strings, which conveyed palpable heat and gust. Soprano Sophie Bevan soothed with her tender rendition of "The sun goeth down," lulling both the imprisoned apostles and the audience into a state of serene reflection.
Effectively a concerto for choir, the performance was anchored by Nicholas's chorus, whose flexible and expansive reading honoured the work's meditative mood without distorting its shape. The Bournemouth Symphony Orchestra took some time to settle but ultimately forged a secure partnership, adeptly navigating the sidesteps and surges of Elgar's intricate score. A standout solo from leader Amyn Merchant highlighted their growing cohesion.
Soloists Who Soared Above the Ensemble
A strong quartet of soloists elevated the performance, with tenor Ben Hulett delivering a brilliant and ringing portrayal of John, balanced by the muskier depth of mezzo-soprano Catherine Wyn Rogers. Sophie Bevan's heartfelt delivery, though not quite achieving the gorgeous velvet sound the writing demands, added emotional resonance. Baritone Gareth Brynmor John stood out as an evangelist Peter, whose compelling performance could have converted listeners on the spot.
This revival of The Kingdom not only showcased the talents of the Bournemouth Symphony Orchestra and Oxford Bach Choir but also reaffirmed Elgar's ability to find beauty in the ordinary, making a compelling case for this often-neglected oratorio's place in the classical canon.
