Even given the ongoing popularity of Messiah since its initial performance in Dublin in 1742, George Frideric Handel would surely be astonished if he could see wave upon wave of antipodean audiences flocking to hear the many versions of his remarkable oratorio being performed in Melbourne during the weeks leading up to Christmas this year. Of all the versions on offer, he would have had to be mightily impressed by what the Royal Melbourne Philharmonic Orchestra and Choir presented on Sunday afternoon. Considered by the RMP’s Conductor and Artistic Adviser, Andrew Wailes, to be the finest performing edition available, the edition used was by English musicologist and Harpsichordist, the late Clifford Bartlett published in 1998. Wailes’ choice of possibilities included in this edition gave us an opportunity to hear less familiar material that was most welcome.
Several factors make the RMP Messiah particularly significant: longevity/number – this was the RMP’s world-record-breaking 245th performance in an unbroken sequence of performances dating back to 1853; venue – the importance of the Melbourne Town Hall with its magnificent organ is inextricably linked with both tradition and the quality of the performance; and version – it is unlikely that any other local orchestra and choir performs an uncut reading of Messiah. Of equal importance to all of the above is the fact that there is a full orchestra boasting some exceptional players and a fine choir expertly trained by Andrew Wailes.
Many of the choir members have sung in multiple performances of the RMP Messiah and the choir’s knowledge of the music was visible from the first chorus, which was sung without scores. The final chorus and several in between were likewise sung from memory enabling the choir to give unwavering attention to subtleties of dynamics and tempi demanded by the conductor. There is also better connection with the audience. “Worthy is the Lamb”, with organ and timpani joining the full orchestra, made a tremendous impact.
Following a crisp Sinfony (Overture) at a moderate tempo, tenor Christopher Watkins began the first in a series of impressive contributions. The long drawn our lines of “Comfort ye” revealed exemplary control of breath and dynamics, while commendable agility was on display in the more florid passages of “Every valley” and other arias. In all recitatives and arias the “rightness” of his ornamentation suggested extensive experience and musicality of a high order.
With reasonably well balanced numbers of sopranos, altos, tenors and basses, the parts were clearly defined and sung confidently for the opening chorus, “And the glory of the Lord”. Although the sopranos’ typically shining tone provided much of the excitement, it was pleasing to hear the other parts sung with clean attack and good tone. In general, choruses benefitted from buoyant rhythms with precise articulation in florid passages. I doubt that there was one instance where the whole choir failed to act as one at the beginning and the end of a piece – or even a phrase.
Jeremy Kleeman’s forceful opening phrase “Thus saith the Lord” was thrilling in its sense of command, the sheer volume of his rich bass-baritone voice arresting. Technically secure and never forced, he brought a sense of involvement and drama to everything he sang. Like Watson, he radiated professionalism. Kleeman’s sombre colouring for “For behold, darkness shall cover the earth” was wonderfully atmospheric and the expansion of “arise” in the same Accompagnato was masterly. The following aria describing the transition from darkness to light was manly and authoritative. More thrilling moments came in Part The Second with a fast and furious “Why do the nations so furiously rage together” (complete with some deftly handled runs), and In Part The Third with a sonorous account of “The trumpet shall sound” where he was joined by Callum G’Froerer on trumpet to make this famous aria as spine-tingling as possible.
The RMP also sets itself apart from other organisations in the way young talent is fostered. With the exception of COVID year 2021, the RMP Aria has been held every year since 2007 with the express purpose of promoting the art of oratorio singing and giving talented young classical singers a pathway to a career that offers valuable opportunities in this field. Lana Kains was this year’s Aria Winner, and also soprano soloist for the 2024 RMP Messiah. The brilliance of her clear and ringing upper register, the beauty of her well-projected voice in softer moments and good agility in coloratura passages – particularly in “Rejoice” – were evident throughout. There was the occasional tendency to push a little too hard at times and extra breath was needed for some phrases, but Kains’ performance boded well for a successful singing career.
Mezzo-soprano Syrah Torii is another young singer with a bright future. Her voice sounded relatively light but was warm and evenly produced. Perhaps a little more drama could have been injected into her performance at times, but her somewhat restrained delivery was gently expressive and most pleasant to the ear.
In a strange reversal, it seems that our increasingly secular society is drawn to one of the great sacred works, originally composed because operas no longer pulled in the crowds as they used to. What this performance did was to bring people together harmoniously at a time when mutual respect and understanding is most needed, just as the RMP’s President, Hannah Pilkington, voiced in her welcoming address. Handel’s great oratorio is full of wonderfully melodic and dramatic music, making the sentiments expressed in the texts able to move the hardest heart.
Any member of the audience itching to sing along could do just that when Andrew Wailes invited us to stand and join the RMP Choir, Orchestra, soloists and the magnificent Town Hall organ to sing a reprise of the “Hallelujah Chorus”. No conclusion to an exhilarating performance of Handel’s iconic work could have been more uplifting.
Photo supplied.
______________________________________________________________________________________
Heather Leviston reviewed the Royal Melbourne Philharmonic Choir and Orchestra’s performance of Handel’s “Messiah”, presented at the Melbourne Town Hall on December 8, 2024.
