German conductor Jun Märkl's conception of Mendelssohn's Elijah liberates it from the realm of the "pretty"-- a well-mannered favorite of amateur Victorian choral societies -- and presents it as a brawny, emotionally volatile, sometimes raw depiction of several very odd episodes from the life of the ninth century BCE Hebrew prophet. It could be argued whether or not the dramatic extremes and the brashness of this version were exactly what the composer had in mind, but it's undeniably effective and should be of interest to ...
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German conductor Jun Märkl's conception of Mendelssohn's Elijah liberates it from the realm of the "pretty"-- a well-mannered favorite of amateur Victorian choral societies -- and presents it as a brawny, emotionally volatile, sometimes raw depiction of several very odd episodes from the life of the ninth century BCE Hebrew prophet. It could be argued whether or not the dramatic extremes and the brashness of this version were exactly what the composer had in mind, but it's undeniably effective and should be of interest to fans of the oratorio. For English-speaking audiences, the fact that it is performed in the original German creates a healthy distance from the English oratorio tradition to which it has often been relegated. Märkl's Elijah is dramatically charged and is appropriately stark in its grandeur; the climactic choral sections are among the most impressive moments in the recording. As the prophet, bass Ralf Lukas doesn't have what could be described as a beautiful voice, but he has a...
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