Messiah

Forget holly and Ivy, roast turkey, tinsel and badly wrapped presents  Christmas without Handel’s Messiah would not be Christmas.

Last night in St Peter’s Cathedral, performed by a choir of accomplished singers, the Adelaide Baroque Orchestra, playing period instruments, and four compelling soloists, under the direction of Anthony Hunt, we heard Handel’s Messiah in something akin to the original Dublin performance in 1742. 

Handel, being a composer of operas, arranged the biblical settings provided by Charles Jennens in an opera format. The three parts match the normal  three Acts and the music is divided between chorus and soloists, recitative, arias and instrumental interludes.

It is easy to concentrate on the magnificent music of Handel to the detriment of the words, which, using biblical texts, trace the story of Jesus from a baby in the manager, to a man derided and crucified until his triumphant resurrection. Outlined, through the Old Testament Psalms and then to the New Testament Epistles and Revelation, is a message of hope, despite suffering, of resolution and of redemption.

 Kyle Stegall, conveyed this message, standing like an Old Testament prophet to sing Comfort ye ….Prepare ye the way of the Lord. Not to be comforted but to give comfort. This was sung with conviction and feeling, straight from the heart, as were his later arias.

David Greco, in his arias, including the Trumpet Shall Sound, gave something of the sense one finds in these readings – these were people who had their own relationship with God. He  proclaimed that message with strength and authority.

Ashlyn Tymms conveyed a subtler emotion, sorrow, yet consolation, in a voice graced by clarity and  warmth.

The soprano is given the happier story. In Rejoice Jessica Dean with deceptive ease proclaimed that joy. Her singing of I know that my Redeemer Liveth, highlighted the comfort suggested at the start.

The soloists in Messiah do not have a monopoly of all the best music. The St Peter’s Cathedral Consort was  truly wonderful, not fazed by the technical requirements. Handel was taking no prisoners. The Adelaide Baroque, essential and assured, added to the performance.  A warm night in a cathedral can play havoc with pitch, but with suitable correction all was put to right.  Trumpeters Leanne Sullivan and Martin Phillipson deserve a special mention. Adelaide is so fortunate to have so many world class musicians playing in a beautiful setting.

Director Anthony Hunt held all the forces together, bringing them home in triumph in the majestic final Amen chorus.

This was a Messiah that touched the depths and the heights of human experience through the telling of a story that has shaped our history  hundreds of years.