An Enjoyable if not Hugely Memorable Messiah

16/12/2015

  Handel, Messiah Carolyn Sampson (soprano); Iestyn Davies (countertenor); Allan Clayton (tenor); Robert Davies (bass); Britten Sinfonia Voices; Britten Sinfonia/Eamonn Dougan. Barbican Hall, London, 15.12.2015 (CC)

So, it’s that time of year again. Interestingly, both Iestyn Davis and Allan Clayton were soloists in another Britten Sinfonia Messiah back in 2008, covered by my colleague Melanie Eskenazi (here). For the present occasion the soloist line-up was graced by the ever-fabulous Carolyn Sampson; in addition, Robert Davies stood in for an indisposed Christopher Purves.

This was a modern instrument Messiah with scaled-down orchestra (double-bass, placed next to the bassoon behind the cellos). The warmth of sound of the opening bars indicated a modern approach (and, I am sure, made at least some of us wonder if we were in for a long evening); yet the Allegro had plenty of vim and, in addition, power. Eamonn Dougan throughout clearly had his ear on clarity; his generally brisk speeds seemed to imply that we might even exit the hall prior to the promised 10.05pm (for once the timing was a considered one, as the final chords sounded at 10.07pm). The “Pastoral Symphony” was notable for its excellent invocation of drone; in fact there were delights aplenty from the orchestra,

The chorus was also aware of clarity to a large degree, and could be lovely and bright of tone (arguably to a fault in the brightness stakes): “Glory to God in the highest” was a case in point, here with two trumpets poking out of a hole in the wall behind the chorus like so many seraphim. The airy delivery of “Lift up your heads, O ye gates” was most effective, as were the injection of Handelian drama in that same chorus and the added insistence at each repetition of the question “Who is this King of Glory?”. Unfortunately the final chorus “Worthy is the Lamb” and the concluding “Amen” could have been decidedly punchier.

It terms of soloists, it was perhaps ironic, if accidental, that the two outstanding ones (Carolyn Sampson and Iestyn Davies) were bunched together on the extreme stage left; the comparatively less satisfactory tenor and bass were placed on the right. Each soloist therefore had a little bit of exercise as they worked to centre-stage for their various arias.

Carolyn Sampson is a distinguished Handelian. Back in November 2004 over at St. Martin’s Lane, she was stunning in Semele (review). Everything she touched seemed special; it is telling that it is a recitative that gleans the first superlatives. The accompanied recitative, “And lo, the angel said unto them” found Sampson in clarion form. Perhaps she was heard at her finest in Part III’s “I know that my Redeemer liveth”. She seemed the ideal pairing in the upper frequencies with Iestyn Davies, whose expressive “He was despised” was one of the evening’s highlights (especially given the delicacy of the string accompaniment). Davies is one of the foremost counter-tenors, his confidence of delivery and attack massively impressive throughout.

Tenor Allan Clayton began very well, with “Every valley shall be exalted”, the melismas fluent and smooth; the choral take-up, “And the glory of God shall be revealed” introduced the Britten Sinfonia Voices, who clearly made every effort to ensure that lines were clearly and cleanly delivered. Clayton’s solos were always musically satisfying (once one had got over his distractingly festive red socks), yet he lacked the character of some of the other soloists.

The bass Robert Davies offered a curious performance. He was rather quiet in his recitative and aria, “For behold, darkness shall cover the Earth … The people that walked in darkness” (from the back of the stalls it did sound as if an attempt at restraint had gone too far). He found his vocal backbone for “The Trumpet Shall Sound”, joined by the crystal-clear trumpet of Paul Archibald. It was a pity “Why do the nations so furiously rage together?” was blunted en route (the latter an especial shame, given the orchestra’s buzzing accompaniment).

The use of decorations in the second ‘A’ section of da capo arias was sparing, judicious and effective. This was an enjoyable if not hugely memorable Messiah, therefore.  Incidentally, the British habit of standing for the “Hallelujah” chorus sits uneasily with this reviewer (at a guess 95% of the Barbican audience stretched their legs). It’s hugely disruptive and does it really serve a purpose? I blame King George II.

Colin Clarke

Print Friendly

Comments

Leave a Reply

Recent Reviews

Facebook-button-1

Season Previews

__________________________________
  • NEW! Spitalfields Music Festival 2017 in December __________________________________
  • NEW! Bampton Classical Opera in 2018 __________________________________
  • NEW! The 2018 Lucerne Summer Festival __________________________________
  • NEW! World Premiere of The Nutcracker and I, by Alexandra Dariescu in December at Milton Court __________________________________
  • NEW! Hampstead Garden Opera Bring The Enchanted Pig to Highgate in November __________________________________
  • NEW! Leeds Lieder’s Forthcoming Schubert Song Series in Leeds and Sheffield __________________________________
  • NEW! Svetlana Zakharova and Bolshoi Stars Bring Amore to the London Coliseum in November __________________________________
  • NEW! Tom Green and Carol Ann Duffy’s The World’s Wife Premieres on 15 October in Cardiff __________________________________
  • UPDATED! English National Ballet’s 2017 – 2018 Autumn/Winter Season __________________________________
  • NEW! Contemporary Music from Manchester’s Psappha in 2017-18 __________________________________
  • NEW! I Musicanti’s ‘Alexandra and the Russians’ at St Johns Smith Square, 2017-18 __________________________________
  • NEW! Anna Netrebko and Yusif Eyvazov’s Return to London in May 2018 __________________________________
  • NEW! St John’s Smith Square announces its 2017/18 Season __________________________________
  • NEW! The Pierre Boulez Saal’s 2017/18 Season in Berlin __________________________________
  • NEW! Birmingham and Beyond: Ex Cathedra in 2017/18 __________________________________
  • NEW! The Glyndebourne Opera Cup and Glyndebourne in 2018 __________________________________
  • NEW! The City of Birmingham Symphony Orchestra’s 2017/18 Season __________________________________
  • Subscribe to Review Summary Newsletter

    Reviews by Reviewer

    News and Featured Articles

    __________________________________
  • NEW! A Composer Speaks Up for the Environment: An Interview with Margaret Brouwer __________________________________
  • NEW! The Generosity of Gwyneth Jones: Her Masterclass at the Royal College of Music __________________________________
  • NEW! Twelve Years of Celebrating Malcolm Arnold in Northampton __________________________________
  • NEW! What is the Critic’s Job? A Review of A. O. Scott’s Recent Book __________________________________
  • NEW! English Music Festival in Yorkshire Lifts the Lid Off an English Treasury __________________________________
  • NEW! A FULLY STAGED PILGRIM’S PROGRESS IN ORLEANS, MA __________________________________
  • NEW! JIŘÍ BĔLOHLÁVEK (1946-2017) AND THE CZECH CONDUCTING LEGACY __________________________________
  • NEW! JUSTIN DOYLE DISCUSSES MONTEVERDI WITH MARK BERRY __________________________________
  • NEW! Katie Lowe Wins the 2017 Elizabeth Connell Prize __________________________________
  • NEW! ITINÉRAIRE BAROQUE 2017: TON KOOPMAN TALKS TO COLIN CLARKE __________________________________
  • NEW! The Royal Opera House in Mumbai is Restored to its Former Glory __________________________________
  • NEW! iSING! – International Young Artists Festival in Suzhou, China __________________________________
  • NEW! A Riveting Kokoschka’s Doll from Sir John Tomlinson and Counterpoise __________________________________
  • NEW! ANGELA BROWNRIDGE IN CONVERSATION WITH ROBERT BEATTIE __________________________________
  • Archives by Week

    Archives by Month

    Search S&H