Handel’s Messiah
Ware Choral Society’s Messiah (December 6th 2014) was performed in aid of the Isabel Hospice and dedicated to the memory of Mick Crace. Mick was not given to hyperbole but he would surely agree with someone in my village, who said, the morning afterwards, ‘Well there’s only one word for it – magic.’
Several conversations in the interval with strangers (yes, a thoroughly good social occasion as well) and the particularly intense involvement of the whole audience support this verdict.
Julian Williamson’s conducting was, as ever, both disciplined and creative. He gave us, appropriately for the forces, a robust and substantial reading of the music but the result was invariably spirited and stylish; a subtle balance. This was evident in the fine playing of Pro Arte (leader Paul Willey) as it was in the musical and articulate singing of the chorus, this latter the outcome of much careful rehearsal. Julian Williamson was also meticulous in shaping the narrative of the complete piece, from prophecy and birth through the passion to triumph over death. A number of people mentioned that this was their first whole Messiah and particularly enjoyable as such.
The soloists were from the Royal College of Music the bass and tenor exceptional. Richard Dowling (tenor) is more on the baritone side of the voice and thus brought a great richness to his numbers. Dominic Bowe (bass) was if anything, even better, singing with both power and sensitivity. The soprano, Harriet Eyley, is clearly a virtuoso, with a real brightness of tone and impressive technique; however to my ears she used too much operatic vibrato. The mezzo, Claire Barnett- Jones, has a voice that struck me as ideal for oratorio and she always honoured the words together with the lines for the music, giving us some beautiful moments.
This is certainly a marathon for the chorus and (with all those famous unmissable entries) Handel’s counterpoint takes no hostages. Yet the choral singing, first to last, succeeded in begin splendidly fresh, as well as having conviction, accuracy and musicianship.
For the first time in many years, I actively enjoyed the Hallelujah Chorus, to take an obvious example; and there were several other choruses in which the classic melodies took on a new life. Despite the rare opaque moment, the choral singing was dynamic and purposeful; genuinely accomplished. The audience was asked to share the music that the choir knew and loved and at which it had worked hard. It turned out to be a handsome Christmas present and greatly appreciated.
Finally a quick word of thanks to the trumpeters and to the continuo organist and once more, to the conductor, chorus, soloists and Pro Arte, as a whole for an inspiring evening. A fitting tribute to Mick.
Nicholas Jardine.
7th December 2014
