Tonight, on the Eve of Atlanta, the San Francisco Symphony had its own
entry in a thrilling superbowl of super-sized music.

The third, and final, performance of Elgar's "The Dream of Gerontius" in
Davies Hall surpassed the previous evenings as Donald Runnicles presided
over an awesome, mighty presentation of music that's right up there in size
with "Gurrelieder," the "Boris" coronation scene, Mahler's "Resurrection";
and in unbridled ecstasy, with the beginning and end of "Mefistofele," the
finale of "Dialogues of the Carmelites."

When Keith Lewis (stepping in for Thomas Moser, who is ill) in the role
of the Soul (of Gerontius) beheld the fffff image of God, he cried out
"Take me away..." with such power and abandon that the entire season of the
San Francisco Opera, next door, faded away in comparison -- *this* is the
grandest of grand opera...  and more.  A few measures later, Lewis' voice
broke, but I have never overlooked such potentially disturbing event so
easily; the great moment -- the voice arching over the "divine" storm of
the orchestra -- arrived and was registered safely before anything untoward
could happen.

The orchestra was just as fabulous, under Runnicles' relentless drive, as
on opening night, but this time, Vance George's Symphony Chorus was at its
very best, with a solid, mighty sound whether singing the role of angels or
demons.

I can't figure out the symbolism (if any) of Jennifer Larmore singing the
role of the Angel in solid black (instead of the pure white on Thursday),
but she sure sounded better this time, handling projection well.

Eric Halfvarson was indisposed on the first evening, downright sick last
night, and this time, he canceled.  When the announcement came that the
role of Priest/Angel of the Agony will be sung by John Relyea, I thought
we might have a historic occasion of an "emergency debut" by the young,
terrific bass.  Instead, it was his *father* (they don't seem to bother
with "Jr." and "Sr.") and he was absolutely wonderful -- proving that
great talent runs in the family.

I am still scratching my head, trying to figure out why it took 100 years
for this mighty, magnificent work to arrive in San Francisco.  But, after
three performances, I am certain that it will come back much sooner than
another century.  And if it does in time, I'll be there at all
performances, hoping that Runnicles will make it too.

Janos Gereben/SF
[log in to unmask]