"Spectacular" Messiah performance
Published on Tuesday, December 07, 2010
This review of the November 28, 2010 performance of “The Messiah” including Mastersingers by the Sea was written by Susan Pennington and appeared in the Falmouth Enterprise on December 7, 2010.
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Mastersingers by the Sea, the New Bedford Symphony Orchestra, the University of Massachusetts-Dartmouth Chorus, and Sine Nomine, a chamber choir based in Fall River, joined forces (85 singers) to present a spectacular concert Sunday afternoon at the Saint Anthony of Padua Church in New Bedford. The performance was directed by David MacKenzie.
It opened with the Vivaldi Concerto for Two Trumpets, showcasing two amazing musicians: Steven Banzaert and Andrew Sorg. The sound was resplendent, aided by the soaring vaults of the church, 65 feet high, and the trumpeters’ abundant talent. They began in harmony together, with the strings pulsing beneath them, and then traded melodic intervals.
It was a truly thrilling, seamless performance, which had the trumpeters producing endlessly long passages (without noticeable breathtaking) perfect in technique, heraldic in sound and impelling in rhythm. Continuo was provided by Kevin Galiè on a chancel one-manual organ; he had serenaded the gathering audience before the concert on the church’s four-manual 1912 Casavant Frères organ.
The major work was the first part of Handel’s Messiah. From the start, one could tell this was going to be an unusual performance of the oratorio. The tenor, Matthew Anderson, sang the words of the prophet Isaiah “Comfort ye my people” with a soothing sensitivity rather than heroically announcing the opening of a masterpiece, as is usually the case. It had its effect on the audience of over 1600; there was not a sound except the singer, the strings and the continuo.
The choir sang “And the glory of the Lord” with a light lyrical delicacy, clear runs and precise dotted rhythms. The sound was enhanced by the Rococo-like decoration of the church; around and behind them were a heavenly conclave of Christ, saints, and angels that was astounding. The basses changed the mood when they proclaimed “For the mouth of the Lord has spoken it.”
Their diction was very effective; one of the singers told me that Dr. MacKenzie worked hard to have them unlearn some of the old ways this work has been sung and taught them a different technique so that the text would be more understandable. This was true throughout the six choruses that comprise the first section of Messiah.
The orchestra was outstanding, as is always the case with Jesse Holstein, concertmaster and, of course, the brilliant conductor. The Overture had a controlled dynamism that was expressed very softly.
The “Pastoral Symphony” was beautifully phrased and much more restrained than the rushed treatment of this interlude that occurs midway through the first section. Their contributed collaboration with the choruses and the soloists was always fresh and supportive.
Kristen A. Watson, Soprano, was remarkable in her ability to spin the long lines effortlessly, and her ornamentations (Performers in the Baroque era were expected to add notes to those written by the composer) were organic to her voice. She produced supple trills, embellishments, grace notes, variations, portamenti, and a glissando to a high C with no change in her splendid vocal line. She sang “Rejoice greatly” at breakneck speed without a loss of any note. Her “Come unto Him, all ye that labour” had, I believe, the entire audience succumbing.
The words echoed the Latin over the front entrance of the church, “The hardworking people of St. Anthony’s have built this temple to the Lord.” This magnificent church was built with the nickels and free labor of French immigrants a century ago (and there are others in New Bedford built by different nationalities).
Anton Belov, Baritone, added an operatic flair to his “But who may abide the day of his coming?” Hillary Nicholson, Mezzo-Soprano, sang “He shall feed His flock” with a warm vibrato, in two different registers.
The finale was a rousing “Hallelujah!” with all of the 5,500 lights built into the church illuminated as was the Advent candle. It was thrilling. My seat companion, more familiar with Congregational/Episcopal/Methodist décor had no idea a church like this existed; he had always admired the towering steeple from Highway 195.
The audience rose, as is the custom for this chorus, so the production had a readymade standing ovation. Dr. MacKenzie, after acknowledging the thunderous applause, directed the audience and assembled masses (trumpets returned) in a repeat of the chorus. It brought tears to the eyes of more than a few seasoned singers. It was truly a religious experience.
[Historic church information was taken from a brochure prepared by The Reverend Roger Landry, pastor, who greeted attendees at the door.]
The Mastersingers winter concert “A Zest for Love!” will take place March 5th and 6th at St. Barnabas Church.
(Susan Pennington is the music director at St. Anthony’s Church and teaches art appreciation at the Cape Cod Conservatory.)
