Customer Reviews

The Pilgrim's Progress

5 star:		(3)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

This is not a traditional opera. VW described it as a 'Morality' and something to be performed on stage, not in a church.

It is based on Bunyan's book, using many of his words which are very powerful but other words are from the Bible and elsewhere. The net effect is to capture the essence of Bunyan's allegory, certainly the spirituality. Man's search for spitituality was a theme of VW as early as 'Towards the Unknown Region' and the 'Sea Symphony'in the early years of the 20th Century. With 'Pilgrim's Progress', VW combined the early themes, ideas and music, with the maturity and experience of later life to produce a masterpiece.

Not only are the words familiar but so is some of the music. The opening of the opera to the chords of the psalm tune 'York' is powerful and they are repeated as Bunyan speaks. They are back again at the end in the same way as Bunyan also returns to talk to the audience and invites them to go on a pilgrimage too. The familiar hymn 'Who would true valor see' is sung by the chorus in Act II, Scene I which VW wrote the tune in 1906.

I found the music complimented the words and painting the scenes almost to the extent that the imagination can see the performance. (The excellent notes with the CDs also help). The anguish, passion, joy and ecstacy in Act I can all be felt. The Valley of Humiliation is signified by very foreboding music, a precursor to the fight with Apollyon. Even in some of the Entr'acts, there are gems such as Watchful's piece as well as the Woodcutter Boy's.

The dynamics of the work, with moods going from anxiety and despair to ecstacy, torment to peace throughout work extremely well. Having Bunyan introduce the work at the start and 'sum up' at the end, works is very effective.

For someone who is familiar with VW's works, even if it is just the 'Tallis Fantasia', at the minimum this is something to listen to. For someone who is familia with VW's choral works, it is something they will want to have. I cannot comment on earlier recordings of this work since I have not heard them nor have I seen the work on stage, but I think it would be very hard to top this recording.

I am an unashamed VW fan, completely biased, and believe this work is one of his best and a masterpiece that should be shared with the worldwide musical audience. especially the lovers of opera and choral music, in particular.

I unresearvedly recomment this work.

As one of the earlier reviewers has said, this is not a standard operatic or choral work but a "morality" (as RVW described it) having a more ritualistic character than opera. Having seen one of the Royal Opera's semi-staged performances of this work which Hickox conducted prior to the recording, it seemed to me that RVW's confidence in the piece as having a theatrical element amply justified. This is a wonderful recording and, as much as I love the old Boult recording, and its great spiritual quality, I find myself returning frequently to Hickox's greater urgency and the marvellous central performance of Gerald Finley as the Pilgrim. He comes over on disk as vividly as he portrayed the role on stage. This is not a replacement for the Boult but complementary to it. Buy both. I am much looking forward to the Hickox recording of "Sir John in Love".

I must confess I have never been one for opera in English, as I found its harsh guttural sound grates against the music; having said that: I decided to listen to Ralph Vaughn Williams "The Pilgrim's Progress" and was pleasantly surprised. The harsh tonal shapes made sense and I immediately fell in love with this work. This was way back in 1972. The only recording available then was the old EMI recording under the direction of the legendary Sir Adrian Boult; what a recording it was, plus there was a bonus of a recorded recording session on side six; very interesting. You could see why Boult was held in awe and feared.
Recently I discovered this newer recording of the "Pilgrim's Progresss" on Chandos with Richard Hickox at the helm. The cast are exceptional and on a par with Boult's. He had the brilliant British Baritone John Noble and Hickox has Gerald Finely, both exceptional Pilgrims. This opera consists of an extremely large cast, many singers doubling parts. It is a massive production to stage so this might account for the lack of productions. (I would dearly love to see one on DVD.)
This recording of the Pilgrim is from the Covent Garden Opera House Orchestra & Chorus & supporting cast, too numerous to list. But take it from me, they are all exceptionally capable. If you don't have a copy of this wonderful English opera, then this is the one for you. If you have the Boult version of 1972, you have a gem and I would recommend both. Boult for the historical, Hickox for a newer version.
At the end of the day, you need to choose for yourself. If you don't want the rehearsals, the Hickox is for you. Remember the review above are my personal views, and designed to assist you in making your choice; however with this opera both version come in equal, making that decision a little difficult. So take it from me, you'll be happy with either. Good luck!

This is a weird composition. I liked the philosophical libretto, but the music was either too slow (with endless recitatives) or too busy (with disharmonious mass scenes). I guess, I just don't understand modernity. Maybe this is a masterpiece, but I certainly don't see how.