An effervescent performance such as this, however, brings the listener up short and makes us appreciate the work anew. It also reminded us of the fantastic work of the Bournemouth Symphony Chorus and the gloriously versatile BSO.
Messiah is a work that appears in various editions and can be adapted to just about every format, from intimate chamber proportions to the full choral society scale, as magnificently presented here.
The performance, directed by Baroque music specialist David Bates, had lightness, pace and ever-changing dynamics, but also the power of the Symphony Chorus, when called upon. Bournemouth Symphony Chorus was prepared with characteristic care by Gavin Carr. Mr Bates’ approach was to emphasise the drama and sparkle, so the big chorus numbers like For unto us and of course Hallelujah were simply thrilling in their spine-tingling power, while the pathos was by no means underplayed elsewhere. His conducting style is so expressive that it seemed to include the audience as well as the performers.
The soloists were a stellar quartet of award-winning singers with plenty of experience in Handel’s sound world. This was vital to the impact of the performance. Anna Dennis, soprano, was perhaps the stand-out – her effortless ornamentation was electrifying. The mezzo, Frances Gregory held a beautiful line and the tenor Anthony Gregory proved a great story-teller. It was lovely to hear the real bass, William Thomas. He growled gravely in The people that walked, and spat emphatically in Why do the nations?
Messiah remains such a popular work, it seems to me, because of Handel’s remarkable ability to create themes, the beauty and mystery of which express something important about the experience of living. The work may obviously be about the birth, life and death of Christ, but the way Handel’s music illuminates the story from a personal perspective makes it as relevant as ever. Handel had a shortcut to find universal human emotions which these players and singers seemed readily able to channel.
The performance underlined this fact by unrolling the parade of lyrical choruses and solos with beauty that captivated the ear and satisfied the heart.
BSO Patron Tom Wickson