In the hands of conductor Raphaël Pichon, Mendelssohn’s magnum opus ‘Elias’ is a masterpiece

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Is there one romantic oratorio that you can reasonably mention in the same breath as Bach’s St. Matthew PassionHandels Messiah or Haydns Schöpfung? No, some say; those works simply have an iconic status. But that is not indisputable. Elias (1846) by Mendelssohn is also a musical masterpiece and you wonder why it is so rarely heard in the Netherlands; in the UK it’s like Eliah especially popular among amateur choirs. The explanation is often too sentimental. Too shamelessly melodious in the chocolate-melting female voices of the angelic trio ‘Hebe deinen Augen auf’ or the subsequent choir ‘Siehe, der Hüter Israëls’ – so pleasing to the ear that it can take any winter depression to the Philistines.

For those who like to hear lines in music history, the French conductor Raphaël Pichon with his ensemble Pygmalion, playing original instruments, is a shining star in the firmament. In terms of musical quality and intellectual autonomy you can certainly see him as the successor to music pioneer Nikolaus Harnoncourt. Pichon’s approach to Bach’s music has been delicious in many previous projects. And now he takes that experience and antenna for clarity, structure and idiom to romanticism – and you are listening with your mouth open and goosebumps again.

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This interview with Pichon

<strong>Raphaël Pichon</strong>: “There is a famous statement: God owes a lot to Bach. I can agree with that. ”” class=”dmt-article-suggestion__image” src=”https://images.nrc.nl/0gOOceYyD7KnMdGXV4KJ9WkAuno=/160×96/smart/filters:no_upscale()/s3/static.nrc.nl/images/gn4/stripped/data96116816-ae36f1.jpg”/></p><p>Mendelssohn “rediscovered” Bach <em>Matthäus</em> in 1829. <em>Elias</em> is from 1846 and in the form you can certainly identify relationships; the substantial size (two hours of music by Elias), structure in two parts and alternation of large choirs, arias, ensembles and recitatives on a biblical theme. During the intriguer’s choir ‘Wir haben es gehört’ you will certainly think of Bach’s <em>John Passion</em>.</p><p>Pichon’s approach to Elias was – when you compare it with the otherwise great and tasteful recording by Philippe Herreweghe – decidedly theatrical. An amalgam of baroque clarity and operatic grandeur, also in the fantastic forty-member choir full of young (and predominantly French) singers.</p><p>In the spectacle aria ‘Ist nicht des Herrn Wort (wie ein Hammer)’ by baritone Stéphane Degout you heard God’s hand pulverizing the rocks in the pumping double basses (what a group!), as also in the choir ‘Und der der Prophet ‘Elias’ brach hervor’ the prophet’s fiery horses galloped before your mind’s eye. In contrast, the silent passages – prayers, often – sounded maximally slow and silent, like islands of contemplation. But such contrast was only one aspect: Pichon’s strength is also how he highlights the individuality of melodies with breath and feeling, and showcases details in the instrumentation. The overall perfectionism of the performance was also extended to the selection of the more than excellent soloists, with, in addition to Degout, Julie Roset’s flawless, spacious soprano as a memorable standout.</p><p>Was there a downside? Not musical. Lyrically remains <em>Elias</em> a tough one, with dreary scenes. But Pichon hears a current and urgent drama in it, and you were happy to go along with it. What a treat to be so enchanted by Mendelssohn, Pichon and musicians for two hours.</p><p><dmt-util-bar article=


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