Handel’s 'Messiah’

Press, 16 December 1985, Page 4

Handel’s 'Messiah’

Handel’s “Messiah” presented by the Royal Christchurch Musical Society, conducted by Robert FieldDodgson at the Town Hall Auditorium, December 14, 8 p.m. Reviewed by Philip Norman.. I have a confession to make. On Saturday evening I violated what must be a basic principle of any selfrespecting reviewer’s code of aesthetics. I found myself enjoying a performance of Handel’s “Messiah.” The reasons for this somewhat unfamiliar feeling were not hard to pinpoint. The Royal Christchurch Musical Society, under the skilled direction of Robert Field-Dodgson, turned on a lively display of cohesive choral singing. Assisted by the Christchurch Symphony' Orchestra and a quartet of quality soloists — Malvina Major (soprano), Linden Loader (mezzosoprano), Christopher Doig (tenor) and Rodney Macann (bass) — the choir made L’ght work of this annually performed oratorio. With a sweetly-delivered overture, a superbly-con-

trolled “Comfort Ye” and a rousing, highly rhythmic “And the glory” chorus, the music, from the outset, was set on an energetic, successful course. Here was a performance that made one sit up and concentrate. Later it also made one stand up, but for good reason, not merely for tradition’s sake. The performance of the “Hallelujah Chorus” was an electric one, infused with a lively spirit and impeccably shaped. Another tightly-knit choral highlight was the “For unto us” chorus. With relentlessly increasing dynamics, the tension generated had a powerful impact.

One other chorus that needs to be singled out is that of “He trusted in God.” The performance of this, taken at a rocketing pace, featured some sparkling counterpoint from all sections of the choir. The balance between the sections was well-judged, although at times the texture tended to be bass heavy. Of the soloists, Christopher Doig took line honours for his sensitive, finely-spun

deliveries of the “Comfort Ye” and “Thy Rebuke” recitatives. His account of the “Every Valley” aria was likewise musicianly and tidy. Rodney Macann 'whipped up an imposing fury in his “Why do the nations” aria; and Malvina Major delivered- “Come unto, him” with a graceful, measured pulse and' beautifully floated solo line. The well-crafted solo lines of both “The trumpet shall sound” and “I know that my Redeemer liveth” were unfortunately undercut by some insecure sounds in the orchestral accompaniment.

In the company of such experienced soloists, it was difficult for Linden Loader to shine in her debut appearance with the choir. Her opening aria may have been a little shaky and her subsequent solo lines a shade stodgy, but these are blemishes that only frequent concert exposure can, and will no doubt,, cure. For a mezzo-soprano, Linden Loader produces' surprisingly strong; appealing sounds in her lower register.