Concert Review: Mendelssohn's Elijah

In the title role, baritone Colin Shahat was dignified and inspired empathy.

By URY EPPSTEIN
Jerusalem Symphony Orchestra Mendelssohn: Elijah Jerusalem Theater April 24 In his oratorio Elijah, Mendelssohn placed emphasis on the prophet's human tragedy, rather than the theological or philosophical aspects of his mission. So did conductor Elli Jaffe, in the work's performance by the Jerusalem Symphony Orchestra last week. It was not until the work's second part that an artistic performance level was achieved. While in Part One the Tel Aviv Philharmonic Choir indulged in a lot of fortissimo shouting, presumably in an attempt to make itself audible over the too clamorous orchestra, in Part Two it finally settled down to some delicate voice production, particularly in the Three Angels' Terzetto "Lift thine eyes." The orchestra, too, tamed its massive sonorities and after the intermission relaxed to reveal its capacity for subtle nuances of dynamics. In the title role, baritone Colin Shahat was dignified and inspired empathy. His genuinely moving aria, "It is enough," was one of the performance's highlights. Eytan Drori, substituting for the indisposed advertised singer, displayed an impressive lyrical tenor, placing appropriate dramatic accents where required. The female roles were the performance's weaker links. Sivan Rotem's soprano was too unsteady for comfort. Hadas Gur's alto sounded appealing, but too weak for the Henry Crown Hall. One would like to hear her in a chamber music or lied context.