William Dart review: Auckland Choral at the Auckland Town Hall

Tenor Emmanuel Fonoti-Fuimaono balanced expressiveness and clarity with ever-confident projection as Gerontius in Auckland Choral's performance of Elgar's The Dream of Gerontius. Photo / Bruce Crossnan

Auckland Choral’s inspired and inspiring The Dream of Gerontius must be a high point of its 169 years of providing much-valued sustenance to our city’s musical life.

Elgar’s oratorio, historically important for rescuing British choral music from its Victorian slump, is a work of immense spiritual profundity, drawing on a Cardinal Newman poem to explore issues of life, death and what comes after.

Significantly, the composer wrote at the end of his manuscript, “This is the best of me,” proud that he had “made my own atmosphere and stuck to it”.

On Sunday night, Uwe Grodd set the atmosphere with seasoned skill, conducting an augmented Pipers Sinfonia through the rich textures and subtle inflections of Elgar’s 12-minute Prelude.

This, in turn, was the perfect introduction for Emmanuel Fonoti-Fuimaono as Gerontius, displaying the artistry that has won the young tenor a slew of prizes, nationally and internationally. Balancing expressiveness and clarity, with ever-confident projection, he portrayed the shifting emotions and unswerving faith of a dying man.

The role of The Priest gave ample scope for Alfred Fonoti-Fuimaono’s warm and resonant baritone, particularly impressive against some spectacular choral ranks – thanks to the guest participation of Auckland Chamber Choir and the Royal Melbourne Philharmonic Choir.

The second half of the evening, set in the afterlife, extended both men’s talents as well as bringing in Kristin Darragh as a most memorable Angel.

Tenor Emmanuel Fonoti-Fuimaono (left), conductor Uwe Grodd and mezzo-soprano Kristin Darragh in Auckland Choral's performance of Elgar's The Dream of Gerontius at Auckland Town Hall. Photo / Bruce Crossnan

Darragh’s entrance was anticipated by The Soul of Gerontius, now hearing a “heart-subduing melody”, which she duly delivered. It gave immense pleasure to hear her singular and richly burnished contralto in such a substantial part, whether in exquisitely shaded dialogues with Emmanuel Fonoti-Fuimaono or the oratorio’s final burst of exaltation.

Tenor Emmanuel Fonoti-Fuimaono (left), conductor Uwe Grodd, mezzo-soprano Kristin Darragh and baritone Alfred Fonoti-Fuimaono. Photo / Bruce Crossnan

This was, as might be expected, a night of superb choral singing, with choristers displaying the same nuancing in phrase and tone that one might expect from a soloist. Moments of evanescent sheen contrasted with full-on Elgarian grandeur, with all singers palpably enjoying their turn as some pretty fearsome demons.