Conductor Stephen Layton
Chorus Brisbane Chamber Choir
Soprano Sara Macliver
Mezzo-soprano Helen Charlston
Tenor Gwilym Bowen
Bass-baritone Laurence Williams
Handel Messiah, HWV 56
A Memorable and Magnificent Performance
Christmas in Europe evokes roasting chestnuts on an open fire after a sleigh ride through softly driven snow, and finishing with a hot toddy. Meanwhile in Brisbane, you are most likely roasting yourself and your chestnuts on a beach in the 40 degree heat, after surfing the waves and enjoying an ice cold beer from the Esky! However, one annual European tradition which is enjoyed in Brisbane and Europe alike, is to celebrate Christmas with Handel’s Messiah with the QSO and the Brisbane Chamber Choir at the QPAC.
Surprisingly, the association of The Messiah with Christmas took a long time to become established. Incredibly, for such a weighty piece, Handel wrote the entire orchestral score and choral parts in only three weeks in 1941! The first London performances of Handel’s Messiah in 1743 were poorly attended, due to the Christian narrative exploring the biblical elements of hope and suffering; death and resurrection. It was distinctly different from Handel’s popular Italian operatic pieces. However, its popularity steadily grew, and eventually became established as a traditional Christmas event during the 19th century, culminating in a massive performance at Crystal Palace in London, of 500 musicians and 2000 vocalists!
Now, over 275 years later, The Messiah is synonymous with Christmas and is one of the traditional events to attend alongside the Midnight mass, the Nutcracker and a Christmas carol concert. Principal cellist Matthew Kinmont opened the evening by introducing the audience to a much reduced QSO, as is the nature of chamber orchestras. The cellists were now to be known as the “Matthews,” as there were only himself and Matthew Jones performing. He further exclaimed that there was good news, that the viola players had also been culled to only two, setting the scene for an enjoyable evening!
The QSO and Brisbane Chamber Choir were very fortunate to have conductor Stephen Layton for the performance. He is considered to be one of the most sought-after conductors of his generation, with two Gramophone Awards and a further ten nominations, plus five Grammy nominations amongst other accolades. His renowned skills in choral music are considered to have influenced the evolution of choral performances over the last 30 years. He is presently the Fellow and Director of Music at Trinity College, Cambridge, the Music Director of Holst Singers, and is the founder and Director of Polyphony, a small choir formed in 1986 for a concert in King’s College Chapel, Cambridge which is now in great demand for performances worldwide.
The evening program opened with the Sinfony and then a beautiful solo from the angelic-looking British tenor and choral scholar of Trinity College, Cambridge, Gwilym Bowen. His strident voice and classical appearance with a mass of golden curls, transported the audience back to the 18th century as he performed the Italian aria influenced, Comfort Ye. The 35 strong Brisbane Chamber Choir, directed by Graeme Morton AM, were fantastic as they harmoniously accompanied the soloists and orchestra. English Bass soloist Laurence Williams had a loud and vibrant tone, with an unusual method of almost shouting during his solos. He is also much accoladed, performing with Polyphony, amongst other choirs, with extensive experience in directing youth choirs.
The two female performers, Australian Sara Macliver as Soprano, and English Mezzo-Soprano Helen Charlston, were an excellent complement to the bold male voices. Macliver’s triumphant vibrato in Rejoice Greatly was spectacular, confirming her reputation as a popular and versatile performer. Charlston gave an endearing and heart-rending solo in the Second Libretto with He Was Despised, before the brilliant and popular ear-worm All We, Like Sheep from the chorus.
In true tradition the audience stood for the iconic Hallelujah Chorus near the end of part two, as Jesus Christ himself rises again and is proclaimed the “King of Kings and Lord of Lords” by a triumphant choir. Two trumpeters and the Timpani also featured in the Third part, with a glorious fanfare solo by Richard Formison in The trumpet shall sound, and a rich, full tone.
Throughout the three parts, organist Christopher Wrench accompanied the choristers and musicians unobtrusively on the small ornate organ on stage. However, he was able to ‘pull out all the stops” as it were, when he played the finale, Worthy Is The Lamb on the immense and powerful organ. Suspended high above the stage amongst the glistening pipes filling the back wall of the Concert Hall, he was much more noticeable, adding to a spectacular orchestrated finale to Handel’s Messiah and a fitting end to the QSO’s magnificent 2019 performance season. If you would like to get into the Christmas mood and experience this memorable performance of Handel’s Messiah, you can hear the concert on ABC Classic on 23 December 2019 at 7pm.
7th December, 2019
Concert Hall, QPAC
Dr Gemma Regan