H&H Scores Resounding Triumph in 'Messiah'

Though Christmas time performances of Handel's Messiah abound in the greater Boston area, none could deny that the Handel and Haydn Societys annual production stands out from the usual "Hallelujah" shouting crowds. The H&H, as its aficionados fondly dub it, not only is the country's oldest continuously performing arts organization, dating from 1815, but has maintained the tradition of a December performance of Messiah every year since 1854. If last Sunday's rendition of Handel's 1753 version of Messiah is any indication, the H&H has not let its great musical heritage go to waste, nor has it lost the superb judgement which brought the American debuts of such standards as Bach's Mass in B Minor and St. Matthew Passion and Handel's great oratorios Messiah, Samson, Solomon and Israel in Egypt.

This year's performance runs through December 14 at Boston's Shubert Theatre, and will feature Dominique Labelle, David Walker, Ray Bauwens and Eric Owens, though the December 6 performance was held in Symphony Hall and featured counter-tenor Steven Rickards insteaof David Walker. Associate Conductor John Finney leads H&H's marvelous chorus and period orchestra. Despite the press of weekend afternoons during the holiday season, Sunday's matinee performance was packed, with not an empty seat visible. The audience was richly rewarded for their time and responded with a thunderous, almost raucous standing ovation after the final "Amen" at the end of Part III, summoning the soloists and conductor back not once but thrice to express their appreciation.

The soloists are without exception strong, lovely vocalists, neither too delicate nor too overwhelming for the choral and orchestral accompaniment. Bauwens is particularly notable for his elegant, tasteful use of flourishes. His "Ev'ry valley shall be exalted" aria was very beautiful, lilting, and full of little trills and decorations. The tenor part, though too often sadly neglected in the "Christmas section" of Part I, has some of the loveliest music in Messiah, and Bauwens proves himself wholly equal to it. His Part II recitatives, "All they that see Him laugh Him to scorn" and "Thy rebuke hath broken His heart," separated by the magnificent "He trusted in God that He would deliver Him" chorus, comprise a truly splendid few minutes. In contrast to Bauwens' clear, smooth timbre is the bass, Eric Owens, whose very deep, very dark-sounding voice seems almost to emerge from some inhuman source. This rumbling, rapid-vibratoed effect seems especially apt in the prophetic aria, "Darkness shall cover the earth." The sinister threats to which Owens gives voice send a thrill through the listener, particularly in the long runs of "I will shake the heavens and the earth."

Steven Rickards, who sang the counter-tenor in the December 5-10 performances only, was downright magnificent, displaying a remarkable range and amazing facility in both a smooth, unornamented style and a more decorative, vibrato-filled voice. Certain fast high notes, especially quick jumps up the range in the first few tenor solos sounded a touch over-breathy. However, as the piece progressed, Rickards' slow high sections became a real asset, showing off his incredibly pure, sweet timbre and bell-like resonance. Rickards' runs were exquisite and flawless, his style characterized by very creative use of flourishes, including several impressive octave-wide jumps from ending note to grace-note. A high moment in his performance came in the "He was despised" aria. Startlingly unadorned, this aria provided a striking contrast to the equally lovely lines that followed, "He gave his back to despisers." The soprano recitatives of Pifa, the second, post-natal half of Part I give Labelle a real chance to shine. She displays a very clear, resonant voice, only occasionally marred by a slight crack or falter. She warbles trills such as those in the "Rejoice greatly" aria as one imagines the very angels would do.

The excellent chorus produces, as always, a wonderfully clear and unified sound, free of any imbalance between the various parts. Their synchrony is especially evident in the excellent consonant enunciation, particularly the many initial and final sibilants, which are perfectly coordinated and lightly treated. "And with his stripes we are healed," is a particularly fine example of the following lyricism the choir achieves throughout; "Surely he hath borne our griefs," against the gorgeous background of the orchestral part, is another. Remarkable, too, is the ending of "All we like sheep," which runs "And the Lord hath laid on him the iniquity of us all." The ritard and diminuendo which Finney chooses to take are effective, making these final 15 seconds alone worth the price of the ticket.

But in truth, every moment of the performance brings the audience such joy that it is difficult indeed to remain demurely seated and silent. Not only is each element--soloists, chorus, orchestra--magnificent in itself, but all are expertly balanced and coordinated by Finney's direction, producing in totality a truly memorable Messiah. Anyone who's ever heard Messiah, or indeed anyone who hasn't, should attend this production to experience it as Handel might have imagined and hoped it should be.