Parry's Prometheus Unbound

[patently_obvious]

Some months ago, there was a request posted by William Vann and the English Song Festival for funding for a proposed Chandos recording of Parry's early work, Prometheus Unbound. It now seems that this was successful, as it is listed as forthcoming from Chandos in September.
https://www.prestomusic.com/classical/products/9511603--parry-scenes-from-shelleys-prometheus-unbound
http://londonenglishsongfestival.org/prometheus-unbound-2022/
Apparently the first modern recording/performance since a radio broadcast conducted by Vernon Handley, and the cast looks pretty starry, and William Vann is of course a known Parry expert from his recording of Judith, also for Chandos.

[Alan Howe]

I hope the LMP will be a large enough ensemble for this venture...

[Mark Thomas]

Judging by the recording of Handley's BBC broadcast this is quite a muscular and attractive piece and, at an hour long, not as long-winded as some of Parry's later choral works.

[Alan Howe]

'Prometheus Unbound' is no masterpiece, I'm afraid - overall I found it rather a bore, although it has its moments (not sustained, in my view). It seems that Parry simply doesn't have it in him to write music that measures up to the text he is setting. In a nutshell, he does 'noble' very well, but where's the 'devil' in the music that, say, Wagner (and Elgar in 'Gerontius') manage to find? It's all too 'nice' - and for that reason I don't think it'll ever make any headway in the concert hall.

The soloists are a mixed bunch. Neal Davies' voice is devoid of beauty and steadiness (Gerald Finley would have been a much better choice), David Butt Philip is good when singing full-out but is otherwise less than ingratiating and Sarah Connolly is sadly way past her best (I'm not the first to note the deterioration in her vocal resources - she is, after all, now 60). The one ray of light vocally is Sarah Fox's gleaming soprano: she is quite simply superb. If this had been better sung throughout it would have made for a much more pleasurable listening experience. The chorus, however, is rather good and the orchestra certainly makes its mark, even if one might wish for a larger ensemble.

The best music on the CD is without doubt 'Blest Pair of Sirens'. But then we all know that Parry does 'noble' rather well!

[Alan Howe]

I'm now aware that this CD receives a glowing 'Recording of the Month' review in the October issue of Gramophone magazine. All I'd say is: by all means buy the recording, but prepare to be disappointed. The comparison with Wagner (Götterdämmerung) is particularly fanciful in my view - but what do I know? And the solo singing, as I said above, is nothing like as good as it should be - it'll be good to read Ralph Moore's opinion if he gets to review the CD at MusicWeb.

For a more positive assessment than mine, here's another review:
https://www.planethugill.com/2023/08/unbound-and-unleashed-hubert-parrys.html?m=1

[semloh]

Much as I love Parry's general ethos, I think Alan pinpoints his weaknesses very accurately and my reaction to this piece is also much the same. It's attractive enough but it's difficult to understand why it was regarded back in 1880 as a turning point in English music.
The performance by the Royal Philharmonic under Vernon Handley, mentioned by Mark, was broadcast by the BBC back in 1988 and in my view is far superior.
https://genome.ch.bbc.co.uk/64b86d059f9c43079eede4858ecec09a
Firstly, the singing is a model of clarity and precision, and secondly the orchestra is more sprightly and the dynamics less 'muddy'. As Mark says it is "muscular". I am afraid this is not the case with the new release. I was, indeed somewhat disappointed. A sweet version of Blest Pair of Sirens was a small compensation.

[Mark Thomas]

I haven't listened to my copy yet but only bought it on the assumption that it would be a superior performance and recording to Handley's radio broadcast. Maybe that's still true of the recording itself but it clearly isn't of the performance. Heigh ho, caveat emptor. 

[Alan Howe]

I'm sorry to say that I am becoming more and more wary of reviews in Gramophone magazine. This Parry CD is nothing like as good as it could have been, in my view - although, for example, the 'stock' (as it were) of singers from which to choose soloists for such a project is nothing like as strong as it was a generation ago. To be frank, the conductor isn't up to the standard of Vernon Handley (one of the great British conductors) and, decent though the LMP are, they're not the LSO, LPO, Philharmonia, RPO or BBCSO - or any of our other major symphony orchestras. What the new recording does have going for it is a decent chorus and modern sonics, but I don't think that's enough. Chandos have surely done better than this in the past; perhaps doing this sort of thing really well has just become too expensive...

[semloh]

Yes, I share your misgivings about the Gramophone reviews, Alan. It could be a sign of changing tastes, as some of the reviewers are young enough to be my grandchildren, but I do think it is more about musicianship and standards. This release has served me well, however, by making me go back to the Handley performance and truly appreciating it!