The Dream of Gerontius in Burnley

For their Spring concerts BMC always perform a major work from the Choral tradition and for 2025 they chose Edward Elgar's epic The Dream of Gerontius. Based on a poem by John Henry Newman it follows the story of a regular guy – Gerontius comes from a Greek word meaning ‘old man’ – as he faces his death, meets his guardian Angel and comes face to face with God, before being sent to Purgatory with the promise of everlasting glory. It is widely acknowledged as Elgar's foremost choral work and by many as the greatest English choral work ever written.

The choir were joined as usual on these occasions by the East Lancs Sinfonia led by Karen Hoyle who provided a wonderful accompaniment to the work in a condensed version of the original, very large, orchestral score. In particularly good form on this occasion were the twin horns and it was lovely to see a harp in the orchestra adding some wonderful filigree detail to the piece.

The piece begins with a prelude by the orchestra that lays the foundations for the whole work with its Wagnerian overtones it lays out of many of the main themes of the work as it progresses. We are then introduced to Gerontius himself who quickly tells us that he is dying and will soon meet his maker. The part of Gerontius is a huge part, something of a tour de force, and it was sung superbly by the Tenor Paul Nilon. Paul has worked with many of the leading orchestras and Opera Houses of Britain and Europe. He had a wonderfully clear voice and super clear annunciation that effortlessly rose above the orchestra and the chorus when they joined him. His vast experience on the Opera stage also came to the fore as he did not just sing – from his position on the Mechanics stage, behind the orchestra but in front of the choi - but acted out Gerontius' journey through his death, judgement and entry into purgatory. He was a superb Gerontius. A premiership soloist at the top of his game.

He was joined by two other absolutely top-notch soloists. James Cleverton joined us midway through the first half with a rich Baritone sound that filled the vast space of The Mechanics with ease. We first meet him as The Priest smoothing Gerontius' path from life to death and later as the Angel of Agony. In both roles he excelled and moved Gerontius' journey towards its conclusion.

Our final soloist was a very last minute stand in. Burnley's very own Kathleen Wilkinson was to sing the role of the Angel but was unable to due to illness. So, with just 24 hours notice Kathleen's very good friend, the Mezzo-Soprano, Yvonne Howard joined travelling from Milton Keynes for the afternoon rehearsal. Once again, we were treated to singing of the very highest quality from a soloist of International repute. The standard of soloists BMC is able to attract really is of premier league standard and is testimony to the quality of the choir and the quality of performance soloists know they will experience at Burnley.

The choir were on outstanding form throughout what is a very tricky score for amateur singers to tackle. Right from the outset, in the Kyrie Eleison, they produced a lovely, round sumptuous sound with a passionate spirit coming through as it progressed. Again, in the second half as the Chorus of Demons they produce a big sound in a quite fierce and acerbic fugue. I've heard the choir develop over the years under Nigel's leadership and, despite the sometimes-difficult acoustics at The Mechanics Theatre, they make a sound far bigger and better than you would expect from their number.

Burnley is justifiably proud of its football team, both historically and in the present day. Burnley also has a quite remarkable musical heritage for a town of its size and the Burnley Municipal Choir under the leadership of Nigel Wilkinson is ensuring that this heritage is continued, and – like its football team – at the very highest level.