I love Handel's Messiah and I was lucky enough to catch it in Paris (it was the show at Versailles actually) 19 days before Christmas. It was a fantastic show - long, but fantastic. Ton Koopman, the conductor, was very animated which always makes a good show, and the Amsterdam Baroque Choir & Orchestra sang the Messiah wonderfully as the Dutch speak English very well.
Just in case Versailles removes the webpage, this is the commentary on the event...
Even though the reputation of the Messiah dominates all of Handel’s other creations, this oratorio was rapidly composed for a premiere in Dublin in 1742, with a reduced orchestra version (no oboe or bassoon, which Handel added later during its London revivals) and with a limited choir composed of the church choristers from Dublin’s two cathedrals, probably three or four per voice (later in London, it was a larger non-church choir which would sing The Messiah for its theatre performances).
This version of Irish origin is thus light and incisive, without losing any of its impact.
The success of the Messiah was considerable at its creation on 13 April, and on the next performance on 3 June: the demand for tickets was such that gentlemen were required “to come without their sword” and ladies to come “without hoop dresses to give room for more spectators and so increase the proceeds intended for charity”.
The wonderfully efficient succession of arias and chorales endows the Messiah with a rhythm which unfolds one wonder after another.
Dedicated to Christ, built in three parts on religious texts, the Messiah is both an evidently religious work, while not belonging to any liturgical form. A sacred theatre work, it doesn’t have the drama of historical oratorios, but shines with a fervor which calls to mind the works of Handel’s Italian period, while being alive with English religious music traditions and operas which Handel championed in London. The beauty of the arias was immediately noted in Dublin and for the great alto aria “He was despised”, emotion moved Dr Delany to stand up in the audience shouting to the singer “Woman, for this, let all thy sins be forgiven”. Incomparable and indispensable Messiah…
Ton Koopman is very familiar with Handel’s repertoire. Like him, he plays the harpsichord and the organ, is both conductor and choir master. Ton Koopman’s vision is very respectful of baroque interpretation rules, but it is also enhanced by the constant inventiveness always shown by this sparkling conductor.
Some other notes... They actually brought out the trumpets just before they were played - that was awesome. And they were Baroque or Natural trumpets! I don't think I've seen those before. They don't have the normal valves / keys. Very cool. Second, the choir was small, but they did a magnificent job. Third, there was an awkward intermission (in my opinion) just after the Alleluia refrain. I understand it was a perfect place to achieve a great round of applause, but 1) Alleluia is about 3/4 into the piece and 2) the crowd seemed a little confused. I.e., was the show over or not? Finally, it was in the Royal Chapel which was fantastic. It is a wonderful room and you can't normally enter it when visiting the château. Very cool.
Above is outside the château and is actually the Royal Chapel itself.
Below, a shot of the orchestra and choir just after the Alleluia chorus.
My ticket in its little Château de Versailles envelop
I will remember this performance of the Messiah for a long time. Probably tied or just above (because of the location) to the performance I saw in Utah, which was also fantastic.
fin
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