

The London Symphony Chorus was in fine voice throughout, whether in hushed a cappella sections or in full cry. The singers also joined in the more boisterous passages with considerable and apposite theatrical aplomb. ‘What a day’ and ‘Bon voyage’ were propelled along by their contributions, though both these numbers were marred by Järvi interpolating ruinous (and unmarked) ritenutos – twice in the former and at the conclusion of the latter, which was also not together. In both instances, they unnecessarily impeded the momentum of the music. When Järvi hit upon the ‘right’ tempo – such as in ‘I am easily assimilated’ and in the glorious finale ‘Make our garden grow’, the impact was most satisfying, but the latter was again compromised, this time by an accelerando when the chorus and all the soloists enter halfway through.


After the uncertain start, the LSO contributed some fine playing, both collectively and individually (but where were the whooping horns at the close of the ‘Auto-da-fé’?), and so whilst it was good to hear Bernstein’s inspired and multifaceted score in its entirety, the pleasure was, in W. S. Gilbert’s phrase, “modified rapture” on this particular occasion.