Handel Messiah, Ex Cathedra Choir & Baroque Orchestra, Symphony Hall, Birmingham,

03 December 2023.

5*****: David Gray & Paul Gray.

“An exceptionally fine reading of this perennial favourite.”

There is a lot to be said for Ex Cathedra’s approach to the solo parts in Messiah. Whereas most performances might make do with four, the plan here was to have twelve. When you have a choir with so many fine voices, it does make sense to exploit this and give more than a handful the chance to shine. Additionally, the vocal writing, in terms of range and expressive potential, clearly suggests that Handel had more than four voices in mind. He, apparently, performed with as many as seven. Bringing more singers to bear means more scope to match the voice with the fach and character of the individual number.

Young tenor Seb Hill started proceedings impressively. He has a clear well-centred voice, warm and powerful, and used the text well to point his phrasing and project into the hall. His vocal control was wonderfully illustrated with a flawless messa di voce

Not all the soloists had equal vocal presence, and when solo voices did not carry so well, it was often down to the text rather than power or projection. Those singers who reached out from the stage generally did so because their consonants were all present and correct.

All three tenor soloists, Seb Hill, James Robinson and Bradley Smith stood out, as did soprano Katie Tretheway and Mezzo, Martha McLorinan. This was because of their thorough engagement with, and expressive and technical use of, the text. Respect to Katie who, due to the indisposition of fellow soprano Imogen Russell, had to take an extra share of the work at short notice.

From a choral and orchestral perspective this was an astonishingly complete reading. The band played with precision and a warm full-bodied tone we do not always get from period performances. The choir were outstanding, producing a sound that was powerful and remarkably rich, but never dark or muddy. The tempi brisk, but never excessive, so that the music always had time to breathe. The singers took the fast passage work in their stride. The result was exciting but never frenetic. It was all so well balance in this respect.

The most striking achievement of the performance, however, was conductor Jeffrey Skidmore’s flawless management of the choruses. I have never heard them delivered with such an intelligent use of dynamics and phrasing to bring out the important details. Lines of interest, melodic conversations, and the way the counterpoint is passed around between the voices all shone out, as through illuminated with a travelling spotlight. The result of that is that Handel’s magnificent choral structures became crystal clear.

Choir and orchestra responded attentively and precisely to his direction with unfailing magnificent results. Maestro Skidmore built tension and dramatic momentum through the whole, so that the final chorus and Amen were at once monumentally climactic, and profoundly cathartic. Simply remarkable.

Ex Cathedra Choir & Baroque Orchestra

Jeffrey Skidmore – Conductor

Soloists:

Sopranos – Margaret Lingas, Katie Trethewey

Altos – Gabriella Liandu. Martha McLorinan, Anna Semple

Tenors – Seb Hill. James Robinson, Bradley Smith

Basses – Tom Lowen, Themba Mvula, Lawrence White