SEEN AND HEARD INTERNATIONAL

Handel,  Messiah: Gillian Keith (soprano) Iestyn Davies (counter-tenor) John Mark Ainsley (tenor) Matthew Rose (bass)  The Sixteen, cond. Harry Christophers. Barbican Hall, London, 13.12. 2007. (ME)


It has now become a tradition for the two more ‘authentic’ versions of ‘Messiah’ to be performed around early December at the Barbican, and nearer to Christmas at St John’s Smith Square – The Sixteen at the former and Polyphony at the latter, and those of us lucky enough to be able to reach both really cannot ask for more. The Barbican is hardly a devotional or festive location, and it is certainly not helped by the still-increasing (and still inexplicable) habit of allowing latecomers in to the hall at the most inappropriate moments – in this case, during the most hushed part of the bass recitative ‘For behold, darkness shall cover the earth’ - but this was a performance of Messiah which it would be hard to equal anywhere.

Harry Christophers has a lively, informal, almost bouncy approach to the piece, and his singers, both solo and choral, seemed happy to go along with this. The Sixteen need no introduction as one of the best choirs going: incisive attack, warm tone and shapely phrasing are always present, together with plenty of massive volume where needed – ‘Their sound is gone out’ was as powerful as ‘For unto us a child is born’ was delicate. Orchestrally, too, a fine balance was achieved between light and shade, authentic nimbleness and weighty tradition – no one plays the string introductions to the arias like The Sixteen’s band, and very few can be as supportive of the soloists.

Those soloists were a starry band, on the youthful side and all very confident despite a last-minute change in casting: Robin Blaze’s illness meant that Iestyn Davies was called upon to take the counter-tenor role, and he did it with great style, his polish remarkable although, perhaps perversely, this critic felt sad that all the boyish nervousness seemed to have gone from his attack, and been replaced with a Bowman-like elegance. No matter- ‘Then shall the eyes of the blind be opened’ was typical of his moving recitative, and ‘He was despised’ hit exactly the right balance between sentiment and drama. Gillian Keith has also changed much since I last heard her, although her alteration seems more intentional – from presenting herself as angelic in voice and person, she now seems to be going for the Theda Bara look, and very striking it is. The voice remains mostly sweet and pure, if a little lacking in variety, but she coped very well with the pace of ‘Rejoice greatly,’ taken at not so much a minuet as a scamper.

John Mark Ainsley has of course assumed the mantle of Heddle Nash as ‘the best bleedin’ Messiah in the country’ and his fine – grained tone, easy manner of delivery and exact phrasing are always a pleasure to hear: I love the way he actually makes the phrase ‘Comfort ye’ sound consoling, as opposed to many tenors who make me feel that it is they who want comforting, and his decorations on such words as ‘pardoned’ and ‘exalted’ are always appropriate as well as exciting. I felt he was a little subdued during ‘O death, where is thy string’ although ‘Thou shalt break them’ delivered the expected fireworks. Matthew Rose has a great bass voice, thunderous in ‘The Trumpet shall sound’ and direct in recitative, if at times lacking in the final ounce of maturity, but that will surely come soon. It was greatly to his credit that he was not distracted by the various seating antics during ‘For behold, darkness shall cover the earth.’

The final chorus, with trumpet, drum and organ resplendent, sent us all home in a happy frame of mind, and looking forward to ‘the next Messiah’ at St John’s on the 23^rd – sold out, of course, as indeed was this one. I am sure that if both venues were to ask these respective forces to do an annual performance of Bach’s ‘Christmas Oratorio’ it would be an equal success.


Melanie Eskenazi