Dream of Gerontius Review Saturday 22nd November 2025
| Type of post: | notice |
| Sub-type: | No sub-type |
| Posted By: | Claud Fullwood |
| Status: | Current |
| Date Posted: | Fri, 28 Nov 2025 |
The recent performance of Elgar’s oratorio Dream of Gerontius by both Monmouth and Chepstow Choral Societies was a complete sellout. From the first notes of ‘Gerontius’ followed by those of the semi-chorus in the sensitive acoustics of the Blake Theatre, it was evident that this performance was going to be a winner.
This dramatic work to which many choral singers aspire depicts spirituality, steering away from biblical text in favour of a poem by Cardinal John Henry Newman. In addition, Elgar uses the orchestra’s role following Wagnerian style, to portray the narrative with equal status to the singers.
By combining forces with Chepstow Choral Society and a semi-chorus from Bristol and with the added bonus of generous sponsorship, Monmouth Choral Society was able to effect a nostalgic occasion, performing with the Regency Sinfonia, an orchestra of professional musicians with whom Monmouth once had a longstanding and regular relationship.
An array of excellent soloists complemented the event. Andrew Henley’s delivery of the demanding part for tenor soloist (Gerontius/Soul) was constant throughout with clear enunciation gripping the audience’s attention. Alex Jones’s rich bass voice gave a commanding portrayal of the Priest contrasting with tender yet dramatic tones when representing the Angel of Agony and Susan Marrs (mezzo-soprano) representing the Guardian Angel gave a particularly versatile rendering of Elgar’s evocative music.
The performance was conducted by Steven Kings, Monmouth Choral Society’s Musical Director. Elgar scored for 2 choruses so while Monmouth was rehearsing on home ground, Chepstow Choral Society could rehearse on theirs with Musical Director Graham Bull. It was clear that both choirs had practised with sincere attentiveness to ensure their mutual compatibility when together.
Singing, now recognized as a significant contributor to both physical and mental well-being has led to choirs mushrooming throughout the country spanning a variety of musical genres. Consequently it was inevitable that choral societies in rural areas, particularly after the pandemic, would experience some decline in numbers that would also restrict them financially in funding larger choral works with professional orchestras.
The initiative of two like-minded choral societies coming together in the Blake theatre, where acoustics facilitate the blending of vocal sounds, has indeed contributed to the success of this performance. Determination that ‘the show must go on’ despite adversity caused by Monmouth’s recent flood disaster was indicative of everyone’s commitment. Perhaps this combined performance, cheered and applauded by an enthusiastic audience, will give rise to future similar occasions and encourage others to sponsor and participate in such exciting and exhilarating ventures to delight more audiences in the future.
This dramatic work to which many choral singers aspire depicts spirituality, steering away from biblical text in favour of a poem by Cardinal John Henry Newman. In addition, Elgar uses the orchestra’s role following Wagnerian style, to portray the narrative with equal status to the singers.By combining forces with Chepstow Choral Society and a semi-chorus from Bristol and with the added bonus of generous sponsorship, Monmouth Choral Society was able to effect a nostalgic occasion, performing with the Regency Sinfonia, an orchestra of professional musicians with whom Monmouth once had a longstanding and regular relationship.
An array of excellent soloists complemented the event. Andrew Henley’s delivery of the demanding part for tenor soloist (Gerontius/Soul) was constant throughout with clear enunciation gripping the audience’s attention. Alex Jones’s rich bass voice gave a commanding portrayal of the Priest contrasting with tender yet dramatic tones when representing the Angel of Agony and Susan Marrs (mezzo-soprano) representing the Guardian Angel gave a particularly versatile rendering of Elgar’s evocative music.
The performance was conducted by Steven Kings, Monmouth Choral Society’s Musical Director. Elgar scored for 2 choruses so while Monmouth was rehearsing on home ground, Chepstow Choral Society could rehearse on theirs with Musical Director Graham Bull. It was clear that both choirs had practised with sincere attentiveness to ensure their mutual compatibility when together.Singing, now recognized as a significant contributor to both physical and mental well-being has led to choirs mushrooming throughout the country spanning a variety of musical genres. Consequently it was inevitable that choral societies in rural areas, particularly after the pandemic, would experience some decline in numbers that would also restrict them financially in funding larger choral works with professional orchestras.
The initiative of two like-minded choral societies coming together in the Blake theatre, where acoustics facilitate the blending of vocal sounds, has indeed contributed to the success of this performance. Determination that ‘the show must go on’ despite adversity caused by Monmouth’s recent flood disaster was indicative of everyone’s commitment. Perhaps this combined performance, cheered and applauded by an enthusiastic audience, will give rise to future similar occasions and encourage others to sponsor and participate in such exciting and exhilarating ventures to delight more audiences in the future.
