Eric Sams once described the text of Schumann's Das Paradies und die Peri as 'a crassly saccharine sob-story of guilt and redemption.' It's also difficult to see how this work fits into the Orchestra of the Age of Enlightenment's 'Revolution' series. Under the baton of Sir Simon Rattle, though, it received a performance that did much to highlight its many musical qualities.
The plot of this secular oratorio revolves around a peri's quest to be admitted to paradise. It's essentially an exploration of a supernatural being's quest for humanity that would later receive musical treatment in Dvořàk's Rusalka and Strauss's Die Frau ohne Schatten, to name but two. The problem here is that Schumann, despite constantly expressing a desire to produce an opera, was drawn to poetry and philosophical reflection instead of drama. His setting of scenes from Goethe's Faust, for example, concentrated more on the essentially discursive elements of the second part than the drama of part one.
Audiences at the time of the work's premiere late in 1843 seem to have had few worries about this fact and as the programme note tells us, the work did more to secure Schumann's international reputation than any of his previous compositions. However, this was at a time when tales of a still mysterious orient were all the rage. It's difficult then for this plot, presented with typical earnestness by the composer, to resonate with today's audiences. It's therefore entirely by the score that the work stands or falls.
Luckily, there is a lot in this score to be enjoyed. The subject matter of the libretto has inspired Schumann to produce several passages that give lie to the belief that he was a second-rate orchestrator. Schumann's natural gift for word-setting here comes into happy conjunction with some of his most imaginative use of the orchestra. Early on, in the first alto solo – sung here by the excellent Bernada Fink – the description of the atmosphere behind heaven's gates is accompanied by some wonderful, pulsing flute writing. There's some almost Mahlerian martial music as the chorus herald the arrival of Gazna, 'the mighty prince'. There are some wonderfully Mendelssohnian touches at start of the second part, to accompany the 'chorus of the Nile spirits'. The final numbers of the second part, from the alto's 'Im waldesgrün am stillen See' to the finale are consistently inspired. These details, and the many others, were given their full due by Rattle and the orchestra in what was a very persuasive rendition of the score, the wind players particularly fine.
I felt, though, that the soloists were less fully convincing. This can't be an easy work to sing since so much of what's going on is difficult to indentify with. As the peri, Sally Matthews was consistently radiant of tone, but lacked a little focus. She seemed, perhaps understandably, to be unsure of her characterisation. Mark Padmore, who with his solos bore a certain burden for keeping the narrative moving, likewise sang extremely well. I felt, though, that he needed to try and make more of the text. I missed, for example, any sense of excitement at 'Doch sieh, wer naht dort leise schleichend' as the maiden arrives in part two. We can forgive him for having little sympathy with the libretto but it's surely up to the performers to do all they can to persuade at least the audience of its quality.
David Wilson-Johnson was authoritative in his solos and Kate Royal was luxury casting as the soprano soloist, providing, for me, the vocal highlight of the evening in her portrayal of the maiden. Timothy Robinson was ardent as the young man but was occasionally a little rough around the edges. The Choir of the Enlightenment seemed to revel in their varied role, singing with verve and commitment throughout.
For a long time, Schumann's output has been split into those works acknowledged universally as masterpieces (the songs, piano music and some of the chamber works), those seen as works of flawed genius (the symphonies, his Faust) and those that simply do not warrant attention, dismissed as the product of a muddled mind. We have to be happy that this performance went some way to bringing this particular work firmly into that middle category. It displays some flashes of genius but, above all, is essential for our understanding of Schumann and of his aesthetic creed. Although the subject matter is hopelessly old-fashioned, there was more than enough at this fine concert to persuade us that this is the music of a composer at the height of his powers.
A special mention also for the excellently detailed programme note. It's a shame, though, that an unfortunate mistranslation of 'sie sinkt' as 'she stinks' made it through the proofing process.
By Hugo Shirley