“The Power of 500 Voices!” shouted the ad in ‘Metro’ for Messiah at the Albert Hall.
Not. Handel never heard such a thing. We proved in this performance that ten good singers and true could do the business.
The oratorio was not premiered in London as might have been expected but famously in Dublin. It was, we are informed, given before “The Lords Justices, and a vast assembly of the Nobility and Gentry of both sexes”.
We did our best.
It was the audience that was large, not the choir. About 700 people were there. And, just like us, 2 counter tenors (we had one female alto), 2 tenors and 2 basses were drawn from the cathedral choirs there. And they were strictly controlled. They were not allowed to accept any other jobs while engaged on this – for example, they were forbidden “to assist at the Club of Fiddlers in Fishamble Street” As if! What a surprise – two of them sneaked off to rehearse for ‘Saul’ – and got fired. A letter written at the time says Handel arrived in Dublin “before his cloaths and organ.” Oh, the joys of gigs abroad! What’s changed?
Something to do with the personnel, however, has certainly changed. Mrs Cibber, who took part in the first performance and Kitty Clive, who did so in the first London one, were both actresses, with real theatre careers. I have said in the past singers now have to act – but in reverse you wouldn’t expect, say, a leading National Theatre actress to dash next door and be a soloist in the Royal Festival Hall. Mrs Cibber had been involved in a scandalous divorce, and the scandal sheets of the time can make our tabloids look mild, so no doubt she was glad to be working. Kitty Clive was a great success in ballad operas, and Handel wrote two songs for her. She sounds like an early example of a cross-over artist.
But enough of these historical byways. We were glad to see James Sherlock back in action as conductor, and he had assembled an excellent little baroque band. All the instruments were authentic copies and gave just the right sound. Can I put in a word for the trumpets?
The system used for the singers was that everyone sang the choruses and the solos were divded more or less on the basis of 2 each. The whole work is so well-loved you feel a buzz of anticipation at the opening sinfonia and a sense of satisfaction at the final Amen.
As far as possible, the arias had been alotted to show what each singer could do. We had Paul Robinson’s serene approach in arias like “Every Valley”. We welcomed Timothy Dickinson, a visiting baritone, who got the plum piece (lucky man!) “The Trumpet shall sound”. Julia Featherstone, in her last actual concert, not counting the carol service, before she leaves, floated with the angels above the shepherds and made us believe that she believed that her Redeemer liveth.
Robin Tyson gave a baroque touch with his countertenor in “But who may abide” and shared “He shall feed his flock” with Rachel Ambrose Evans’ elegant, sincere “Come unto Him”. Katherine Nicholson was warm and sympathetic in “He was despised” and Amy Carson sang “Rejoice Greatly”, particularly, with style and charm.
I have left the other two gentlemen to last. It’s not so often that you get real operatic voices in oratorios, and certainly not in a church. But we had them, and they added drama. Aidan Coburn particularly shone in “Thou shalt break them” which is so much more effective with a big voice, and you could tell he’d been singing Handel lately, though this was the first time I had heard him. Nicholas Mogg had two gorgeous arias and was particularly able to show off the fine top voice he has developed. We did indeed see a Great Light, and he put his acting talents to use with those Furious Nations, taken by James at a cracking pace. Nicholas never missed a trick in the ornaments.
We all stood up for the “Hallelujah” chorus, even though there is apparently no real foundation for the tale that George II ever heard a performance or stood up at all. It has been suggested it may have happened with the Prince of Wales at the first performance at the Foundling Hosipital, which of course can still be visited. It’s on my list.
In spite of the recent tragic events, when the choir pounded out “For ever and ever” you can’t help feeling that somehow the world must get better, and all manner of thing shall be well.