Original image by There Stands the Glass.
I came into possession of a 95-year-old book titled A History of Music last week. The author derides Felix Mendelssohn’s “unhappy predilection for the expression of superficial sentiment.” Even though I too have yet to warm up to the composer, I didn't hesitate to pay $25 to hear Mendelssohn’s 1846 oratorio "Elijah" at Grace and Holy Trinity Cathedral on Sunday, August 14.
The choir of about 100 overseen by conductor William Baker delivered the massive jolt I anticipated. The multitude of vocalists was accompanied by a twenty-piece orchestra and fronted by professional soloists including soprano Victoria Botero. Approximately 450 people endured unforgiving wooden pews to take in the 140-minute endeavor.
The scale conveyed the magnitude of the incredible saga of the Biblical prophet. Yet the church’s high ceiling, stone walls and hard floor nullified concerns about “superficial sentiment.” The swirling sonic soup often resembled the psychedelia of last month’s Animal Collective concert. Were it not for the libretto in the program, one might have thought the choir was praising Baal.