Sullivan's Glorious Golden Legend: A Rare Performance

Last night I attended a performance of Sir Arthur Sullivan’s rarely performed dramatic cantata “The Golden Legend”, based on Henry Wadsworth Longfellow’s poem of the same name. The work was performed as part of Longfellow 204th Birthday Choral Festival (an annual event based here in Portland, Maine along with an annual international composition competition in a number of divisions, choral works, cantatas, songs settings, etc.).

Sadly, the unannounced blizzard that arrived Friday, meant two things: the massive work for 5 soloists, orchestra, organ and chorus did not get a dress rehearsal; and (2) people stayed home resulting in a disproportionate ratio of performers (roughly 80) to audience (about 50).

While the performance was not perfect, it was a spirited and winning one that had its small audience cheering, showing there is no good reason this work is not better known, and the powerfully satisfying musical and emotional effect it can have on the listener.

The Longfellow Chorus was fortunate in havingn a handful of young, attractive soloists who, frankly, could not have been better suited to this music and were, in fact superior to those on the impressive Hyperion/Musical Heritage Society recording. So clear was the diction of all five (as well as that of the chorus) it eliminated any necessity of reading the nicely sized (for once) libretto provided in the program.

As Lucifer, Bradford Gleim - even in concert dress - made for a convincing Victorian-era looking devil, and his rich, sonorous voice got the prologue off to a roaring good start, as he attempts to summon his demons. Throughout, Gleim’s devil exhibited perfect amounts of gleeful mischief to make him just evil enough, but also a lot of fun.

Tenor, Brian Arreola (who teaches at UNC Charlotte and a founding member of the ensemble Cantus) was for me the discovery of the night. A clear, nicely sized voice that had the needed Victorian sweetness demanded by this music, but also a cutting heldentenor-ish quality that easily rode over the orchestra , which came nicely into play at the work’s most thrilling moment, (the end of part two) with Henry’s cries of “Angelo! Murderer!” - answered in full cry by the chorus, giving the work a genuine “wow!” factor.

As Ursula, mezzo soprano, Tania Mandzy revealed a absolutely gorgeous-toned voice that at moments reminded me of Dame Janet Baker with its velvety finish and brilliant diction. Unfortunately, at her prayer in the beginning of Part 3, there was a snafu between the orchestra and singer which brought the performance to an unexpected halt. Rather than plugging away and hoping for the best, our intrepid conductor issued a short apology and after a minute to regroup, they began again making the awkward incident worth it as Ms. Mandzy poured her heart out into the prayer, offering phrase after phrase of sheer beauty.

Deborah Selig (who bore an uncanny resemblance to the actress, Jennifer Beals) soared through Elsie’s music with sweetness, but with plenty of sheen to the voice, which opened up beautifully the higher she went. She had the proper amount of earnestness and beauty of tone for “My Redeemer and my Lord” - but truly made her mark with the little coda Sullivan gives Elsie immediately after “My life is little - only a cup of water,” which can only be described as ravishing. Selig’s breathtaking “Christe Elieson” with the chorus at the conclusion of “The night is calm and cloudless” interrupted the performance from the otherwise well mannered audience with several cries of “Brava!”

From the tiny island of Chebeague, (now residing in New York), bass baritone Tyler Putnam offered luxury casting in the small but important role of The Forester. Putnam’s sizeable - almost rattling - voice only made one sorry Sir Arthur hadn’t given him more to sing. Much more.

The Longfellow Chorus sang thrillingly throughout the evening, particularly the women’s voices which were clear and evocative of the best British choruses. The men were slightly underpowered in their chanting of the Hymn of St. Hildebert, and could have used a more “monk’s chant” type of expression in this music, but this is a minor quibble. Most other moments however, such as in first unaccompanied chorus “O blessed light” the sound, would best be described as exquisite, and in the rousing finale, truly glorious.

A nice effect was made with a bit of “staging” with singers shifting positions, actually singing to each other, a prop or two, and a dramatic exit as Lucifer led the then-doomed Elsie down the aisle before appearing in the rear balcony as Prince Henry and his attendants prepare to storm the door for Elsie’s rescue.

Conductor, Charles Kaufman, led all with a sure hand and obvious affection for this remarkable work and, aside from some glitches (most noticeably in the strings), his orchestra (particularly the winds who were marvelous throughout) responded in a performance that made as strong case as I can think of for this work re-entering the repertoire of choral and symphonic organizations.

The small but hearty audience, clearly moved by what we experienced, cheered and applauded lustily, calling back the soloists and Maestro Kaufman for an extended and well deserved bow. It’s a shame the house wasn’t packed . Hopefully a repeat performance today at 3:00 will be better attended.

Sir Arthur Sullivan's Glorious "The Golden Legend"

I spent a wonderful morning listening to the 2001 Hyperion recording of Sir Arthur Sullivan’s magnificent cantata “The Golden Legend, with Janice Watson, Jean Rigby, Mark Wilde, Jeffrey Black with the New London Orchestra and The London Chorus led by Ronald Corp. I‘ve heard excerpts before, but this was my first hearing of the entire score in one sitting, and I did something I don’t with great frequency do: listened to it all over again.

“The Golden Legend” was so highly regarded during Sullivan’s lifetime, that it became one of the most performed choral works, surpassing most other favorites of the time, including “Elijah” with only Handel’s ubiquitous “Messiah” surpassing it. That, like so many performance worthy works, it has fallen forgotten by the wayside is, in my estimation, a tragedy. Of course many - most of whom will never hear the piece, would love nothing more than dismiss the work unheard, and nothing more than an asterisk to the dustbins of Victorian kitsch.” They’d be wrong to do so, in my opinion as the work is so imminently enjoyable, brimming - start-to-finish - with truly top drawer Sullivan; gloriously atmospheric music bearing the influences of Wagner, Mendelssohn, Berlioz and Liszt (with whom Sullivan had worked prior to his composition of the piece).

Following the premiere, Gilbert wrote his former partner to congratulate him on the success of “the biggest thing you’ve ever done.” Many performances and two years later there was a performance held at the Royal Albert Hall by command of Queen Victoria, who upon the work’s conclusion sent for Sir Arthur to offer her praise, and offer a request, to write a “grand opera,” planting the seed for the recently much discussed “Ivanhoe.”

The critical reception for “The Golden Legend,” was nothing short of sensational, with music critics outdoing each other with praise for the work both in its music and sense of drama. Like many things Victorian, more critical (and in my opinion less accurate) 20th century analyses of Sir Arthur’s cantata found it wanting, overly melodramatic, sentimental and overreaching. I’ve actually heard the piece called “quaint,“ and “naïve” which, in my opinion, is about as far away from the truth as possible. The most damning condemnations informing us that our “modern sensibilities“ (e.g., higher degree of sophistication) the lessening role of religion in modern life, etc. render the work little more than a curiosity of a bygone era. Poppycock, I say. Sir Arthur did not write, as does no composer, for audiences of the future but rather for those in his own time.

When this recording was issued critics who wrote in praise of the music essentially said the work deserved it’s neglect because of the sappiness of the story told by Longfellow’s poem from which the libretto is culled (calling certain portions glutinous in its sentiment. Again, I simply don’t understand the reasoning here as such can be said of many great operas and oratorios who sweep us away with the grandeur and power of the music which, in my opinion, far (FAR!) outweigh any negligible qualities of the text.

Clocking in at just under 100 minutes, the six scenes of Sullivan’s cantata have a beautiful (if necessarily episodic) flow and would make a wonderful afternoon at a concert hall - or cathedral.

There are moments of such thrilling musical drama, such as the conclusion of scene iv. Here, Lucifer, disguised as Angelo, a doctor/monk, leads the heroine (Elsie) away to sacrifice, Prince Henry, realizing things have gone very, very wrong, cries out “Angelo! Angelo! Murderer” the thunderous chorus responding in shouts of “Murderer! Murderer!”with chorus, soloists and orchestra in full cry. This intense surging of this scene alone, for me, makes “The Golden Legend” worthy of revival.

With its vivid storm music, the Prologue instantly recalls “Die Fliegende Höllander” and while mention seems often to be made of the opening with quiet bells summoning images of “Suor Angelica” - so can the same be said of anything with quiet bells.

The final scene leading to the redemption and marriage of Prince Henry to Elsie provides the couple with a beautiful duet, followed by a choral finale of great sweep and grandeur. If one enjoys British choral music (as you should!) I can’t think of a more fitting ending to this beautiful “Legend.”

There are many such moments throughout the piece as Sullivan provides his soloists with gloriously melodic arias and scenes, weaves aural tapestries of music that foreshadows by decades music yet to be written by Elgar, Finzi, Vaughn Williams and the other giants that followed him.

As Elsie, Janice Watson is wonderful throughout her music capturing a keen sense of the period without ever dipping into the waters of cheap sentimentality too often bridged in this sort of thing.

Jean Rigby is always a treasure to hear and no less so than as Ursula in this recording and her handling of her prayer scene in scene five grows in lyrical intensity throughout before its gentle finish.

Prince Henry is taken by Mark Wilde who offers an attractive, if not quite the heroic timbre, I’d have preferred for the role. But he sings with an earnestness and never betrays the hero’s sensibilities and partners beautifully with his Elsie.

Jeffrey Black offers a Lucifer of variable quality, sometimes sounding properly sinister, other times falling a bit flat and wooly of tone. He does seem to rise to the occasion at most of the big moments, but overall I find his performance not as satisfying as his costars.

Ronald Corp conducts the New London Orchestra and The London Chorus as if he truly believes in the piece, never rushing and properly pacing the numbers to achieve their greatest possible effect on the listener. It worked for me.

While I understand and appreciate the necessity of moving on with an eye toward the future, it’s a pity it’s too frequently done while forgetting the past. As at least one wise person has stated, “without “The Golden Legend” we would never have gotten Elgar’s “The Dream of Gerontius.” There is, for me, enough praise in that statement to make Sullivan’s neglected masterpiece worth having and hearing.