Hastings Philharmonic's fresh and fierce approach to Handel's Messiah

Many choirs trot out Messiah as if they don't need to do anything because they know it so well. Then along comes Marcio da Silva with a reading fresh as a daisy to persuade us that we have actually failed to pay attention to a masterpiece.

Monday, 12th November 2018, 3:57 pm
Updated Monday, 12th November 2018, 4:01 pm
Hastings Philharmonic's peformance of Messiah photographed by Peter Mould

The approach was exhilarating throughout, with tight rhythms and fast pacing, emphasising the narrative line which compels us to move from darkness to light. The opening tenor solo set the seal on the evening with a luxuriously ornamented Comfort Ye and exultant Every Valley.

But Who May Abide and Oh Thou That Tellest had bouncy rhythms which lifted the impact of the first half before a stately Pastoral symphony. The Angels appeared from near silence and disappeared alarmingly in the same way. Even in the darker sections the rhythmic intensity was not lost. Behold And See brought really tense rhythms while the pace of He Was Despised was almost dangerously passionate. The balance between orchestra and singers was remarkable in the often challenging acoustic of Christchurch. The potential difficulty was solved by having the choir wrapped around the instrumentalists in a horse-shoe. This aided both intimacy and accuracy.

How beautiful Are The Feet was accompanied by solo violin, lute and organ, the wonderfully gentle and simple sounds being totally convincing. By contrast there was furious pace and fire in Why Do The Nations.

Hastings Philharmonic's peformance of Messiah photographed by Peter Mould

The four young soloists were particularly impressive. Tenor Mikael Englund had opened so effectively with Every Valley but found venom and awe for Thou Shalt Break Them with an explosive top A for Dash Them To Pieces. Mezzo Laura Hocking was warmly pleasing in He Was Despised and bass Lancelot Nomura gave a sterling reading of The Trumpet Shall Sound. If the crown really goes to Sarah Gilford it was for her unfailing empathy throughout, her sensitivity to the text and the radiant, confidence – spiritual as well as musical – that she brought to I know That My Redeemer Liveth.

Almost a century ago, Christchurch had a reputation for outstanding musical events. The ghosts of those performers must have been delighted with what they heard last night. By Brian Hick.

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Hastings Philharmonic's peformance of Messiah photographed by Peter Mould