I must avoid the temptation to rave on too much about the actual work, which is one of my favourite works ever written, and focus on the actual performance I attended on Saturday night.
It had a lot of good things going for it, not least Paul McCreesh as conductor, and his Gabrieli Consort and Players. I think Paul McCreesh is a bit of an expert on Creation and has rewritten the libretto.
This performance was sung in English, in the McCreesh version, which improves the familiar text eg "The wonder of his works displays the firmament" becomes "The firmament displays the wonder of his work"
My personal preference is for hearing this in English; I think it is a moot point whether English or German is more historically accurate. Although, amusingly, perhaps, when I hear it in English my head sings along in German! Some bits, anyway!
Naturally, I prefer it when played on historical instruments. And I do like the five soloist approach - replacing the soprano and baritone for Part 3. I didn't know one of the soloists, but the other four were an additional factor in attracting this concert to me.
I didn't have the best of seats in the RAH. I have a fondness for the 2nd Tier boxes. They are slightly more expensive than the Circle, but the increase in comfort - leg room, less heat, more facilities etc - make them worth while. But it can be a game of chance with acoustics; I was in a box so near the front of the arc that I was behind the soloists. And I was on the second row, which is less desirable. So, at times some of the singers sounded a bit thin and quiet to me, but I strongly suspect this was because of my position.
I also like it performed without an interval, even though that does mean sitting for two hours without break.
I thought all the singers - Rosemary Joshua, Mark Padmore, Neal Davies, Peter Harvey, and Sophie Bevan - acquitted themselves very well, although there wasn't one performance that was outstanding, to be remembered for eternity.
The choirs were outstanding: Chetham's Chamber Choir and members of Wroclaw Philharmonic Choir. Actually, I don't know if they were truly outstanding, or whether the material at their disposal just made them sound that way!
I thought the orchestra sounded just wonderful, loved the period timpani, but the stand out was the flautist, almost certainly Katy Bircher
There are so many moments in the work that make me feel all warm and fuzzy inside. I love the opening, Chaos, which has this wonderful passage with the chorus singing "And there was light", which is gloriously cacophonous; out of chaos comes the heavenly voice of the tenor proclaiming "And God saw the light..."
As the days progress, I revel in the pictures painted by the music, 'rolling in foaming billows uplifted roars the boisterous sea' sounds so different from 'By flowers sweet and gay adorned is the charming sight'. And then the fun bit, with the animals, the birds, the lion and, of course, the worm" until Part II climaxes with 'Achieved is the glorious work', a wonderful chorus that rings out and fills the Albert Hall.
Part 3 is completely different, recounting the story of Adam and Eve as a love story. In itself it is, surely, amongst my most favourite substantial excerpt of music. I find it fascinating how the pace starts slowly and steadily speeds up imperceptibly until you reach the end of a substantial passage which is happening at great speed. And the work ends with a great fugue.
So, it would have been a thoroughly enjoyable evening if it hadn't been for the man sitting next to me. But perhaps that is a separate blog post!