Artist in Residence Erin Helyard directed the fine musicians of the Melbourne Symphony Orchestra (MSO), MSO chorus and soloists in a unique, if somewhat curtailed performance of Messiah at Hamer Hall on Saturday night.
A performance of Handel’s Messiah can be a little like Ikea furniture. It can be presented in varied formats in which features of its modular component – comprising an exhaustive list of recitatives, choruses and arias, offer numerous possibilities for artistic interpretation. The performance of these component parts is also subject to factors such as orchestra size, the decision to use concert instruments or Baroque instruments matched to an intended performance style, venue size, the size and experience of the chorus and the varied ways in which different soloists bring their unique vocal types to the concert stage.
Saturday’s performance of Messiah was an example of how programming and direction involves the consideration of these varied factors that unite particular “component parts” in a way that achieves a complete whole while thrilling audiences with numerous moments of musical drama that audiences continue to savour in this yearly tradition.
Erin Helyard’s most significant contribution in this performance as conductor and director were moments of musical expression that enlivened the oratorio’s text in ways original and inspired. The grave of the opening Sinfony was surprisingly slow, with historically informed practice (HIP) of double dotting omitted. Many, if not most recordings and performances since the emergence of authentic Baroque music practices post-1950 favour quick stately tempi, flourishing ornamentation as well as adherence to dotted rhythms. Curiously, Helyard began Messiah in anachronistic fashion, resulting in a sombre mood. As the Sinfony advanced to the fugue in the Allegro moderato, the more conventional tempi and crispness of the French overture in the Baroque style quickly asserted itself. This straightforward rhythmic treatment was repeated in the chorus that opened Part 2 – an unusual but strikingly effective interpretation resulting in dramatic contrast that added to the pathos of the narrative’s journey through suffering and sacrifice.
Also striking was Helyard’s treatment of textual expression in the form of bold use of sudden dynamic changes in movements such as “For unto us a child is born”, where the MSO chorus’s jubilant cries of “Wonderful, Counsellor” were further strengthened by the use of voiced consonants and shortened vowels on these and other words in the text. Like in other movements where articulation favoured crisp staccati and shortened vowels in dotted rhythms. The resulting effect was a sense of dramatic urgency that was exhilarating to hear. Of note, Helyard’s direction for the chorus to disrupt the decrescendo section following “All we like sheep” on the repeated phrase “Hath laid on him” with a sudden accented surge at forte in the soprano and alto part was an emotionally wrenching moment. Helyard’s stylish treatment of dynamic contrasts within and between orchestral, chorus and solo pieces often resulted in some of the most polished phrase shapes, particularly at the ends of phrases that supported naturalistic text delivery in choruses and solos.
One of the integral components of Handel’s Messiah are the four soloists, whose recitatives and arias serve to draw the audience into the inner triumphs and torments of the messianic journey of Christ. Tenor Michael Petruccelli’s sweetness of tone delighted in “Comfort ye my people” and his recit work in Part Two was arresting when his tone was focused. Mezzo-soprano Helen Sherman opted for simple directness of expression that was gently consoling in her aria “He was despised”. Sherman’s restrained uses of ornamentation in her arias produced an effect on the psyche that made the ornamentation that was included a treat to hear. Bass David Greco’s signature penchant for ornamental flourishing was surprisingly more reserved in this performance than in previous outings. Greco tended to save his embellishments for the cadenzas, which were always polished and stylish. It was a shame the bass aria “Why do the nations so furiously rage together” was omitted, though “The trumpet shall sound” was included, as was the bass version of “But who may abide”. Soprano Cathy-Di Zhang possessed a beautifully cultivated tone in much of her work. Her performance marked itself as an alternative to interpretations of arias like “Rejoice greatly” where interpretations are often taken in the literal sense. Zhang’s tone was like an inner well-spring that offered many moments of lyrical beauty while occasionally taking liberties of tempo as in “He shall feed his flock”.
The MSO chorus, prepared by chorus director Warren Trevelyan-Jones, were most pleasing when singing tutti sections. Their combined sound was thrilling and radiant. In the absence of a pipe organ at Hamer Hall (a continual lament by many Melburnians), the chorus thrilled in three key-choruses: “Hallelujah”, “Worthy is the Lamb” and “Amen”. While most of their polyphonic singing was clear and well executed, occasional blemishes in exposed lines were unfortunate but thankfully rare.
Some notable exclusions of key movements in the MSO’s performance of Messiah this year left one wondering why the decision not to present a full performance in Melbourne was necessary. Perhaps the busy performance schedule of this work, which includes several performances in regional Victoria by the state’s orchestra, could do with some careful planning so that audiences can experience a full Messiah at least once a year by the MSO in the festive season. Though Messiah is lengthy, it deserves its due for being a significant work that still compels audiences to rise to their feet at the jubilant cry of “Hallelujah”. Its themes are universal and speak to the human condition of hope, suffering and personal redemption in music that continually renews and transforms the soul.
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Stephen Marino reviewed “Handel’s Messiah”, presented by The Melbourne Symphony Orchestra with Artist In Residence, Erin Helyard, at Hamer Hall on Saturday, December 14, 2024.
