Well, I spent the last few weeks listening to two versions of Elgar’s Spirit of England. My overall preference hasn’t really changed, but my appreciation of both has increased. Overall, I still prefer the Dutton. However, this is because of certain choices that create a different impact compared to the Chandos. That is, both do what they do quite well. Ultimately, it comes down more to what factors the listener is interested in than faulting one or the other for doing something badly.
Version 1: Gibson/Chandos. Singer: Teresa Cahill (sop)
This one has huge impact in its fullness. It fills the ears/room with sound. It is a bit more to the side of fire and brimstone in its tuttis, but it still brings warmth and emotion in some of the quieter moments. The soprano is not entirely to my liking. Her voice is rich and powerful and she certainly conveys emotion in her singing. But I find her vibrato a bit irritating and she doesn’t float well where I feel the score can use that (for example the second section “ To Women”, there are times where she cannot seem to dial it back quite enough to allow a bit more depth/lightness – instead she belts out where I’d prefer her to show more restraint). Her entry in the first movement is not as impactful as I was expecting either. But she clearly feels the part well, and the balance is just right for the impact they want. The third movement is a bit heavy, but the lament is heart-felt and the impact has much power.
Version 2: Lloyd-Jones/Dutton, Singers: Susan Gritton (sop), Andrew Kennedy (tenor)


This one doesn’t have quite the fullness and bombast that the Gibson had. I wouldn’t have minded a bit more in some moments, but overall the concept here is consistent as well. In general, this version is a bit more light on its feet (in part because of faster tempos) as well as being more transparent. This chorus floats more and I like this impact on the piece. The soprano here, Susan Gritton, does not have quite the same power and darkness, but her lighter approach matches well what the chorus and orchestra are doing. I also preferred how she could sing her top notes in a more restrained way when the piece called for it (an example being about 2/3 through the third movement, where her voice melds beautifully with the chorus). The interesting thing here is having a tenor for the central movement (To Women). I liked the male voice here – very expressive, though there are moments he is perhaps too open in his technique. But both singers fit well with the overall concept of the piece. In the third movement, this one almost seems ethereal in moments and I find the ending to be entirely convincing (perhaps the best part of it), and quite powerful in its beauty.
So when we get down to it – two very good versions. And I certainly enjoyed getting to know the piece better.