San Francisco Classical Voice

For veteran musicians and the general audience alike, it is often impossible not to approach G. F. Handel's Messiah with a certain degree of cynicism. The exploitation of the Messiah can be as boundless as the Hallelujah Chorus' oppressive cheerfulness for non-believers; it is readily appropriated as background muzak for holiday shopping, the forced gleefulness of TV commercials, or as a sure yuletide sell-out concert by professional ensembles programming the work year after year as a matter of policy.

It was a welcome opportunity, then, last Tuesday at Grace Cathedral, to hear the American Bach Soloists performance, which attempted to imbed the work in a credible conceptual framework, taking an aesthetically integrated interpretive approach. Rather than treat the affair as an expendable holiday obligation, ABS' music director, Jeffrey Thomas, resurrected rarely heard versions of the Messiah arias, offering variant ritornellos and elements in alternate keys.

According to Thomas' program notes, the version presented was probably never heard by Handel, but reflects what might have been Handel's first concept of the work, one he had originally intended to hear at the famed Dublin premiere. For those familiar with the traditional performing editions, the most striking entries in Thomas' re-compilation were the bass version of the aria "But who may abide" (with the fiery bravura section significantly reworked) and the favorite coloratura soprano aria "Rejoice greatly," refitted into gigue and the compound 12/8 meter.

Leading a crack team of period musicians and singers, Thomas had a thoroughly conceived vision for the piece, maintaining a committed drive and intensity all the way through the stunningly intense and pious final "Amen" fugue. The sense of shaping and vitality was obvious, helped by tempi which were somewhat faster than usual. But if the devil is in the details, what unfortunately detracted from this Messiah was the sloppiness in little things, such as some entrances and cutoffs with an appalling lack of precision and clarity. Such carelessness should hardly be tolerated by musicians of this caliber -- especially when having to cope with the acoustical reverberation at Grace Cathedral being. But perhaps the performers were only partially at fault. Thomas' conducting was difficult to read at times, and often seemed prone to generic circular motion and left-right arm-swaying. This was particularly pronounced in the instrumental, sections such as the Overture and the Pifa.

Countertenor Daniel Taylor was the outstanding voice among the soloists. With a gorgeously subdued sound of compelling sincerity, Taylor displayed an impeccable technique and obvious musical intelligence. Transcending these mere elements of skill to arrive at superlative artistry, this singer has an uncommon gift of bringing drama and urgency into this repertory without losing the dignity and polish required of an oratorio reading. His soul-surrendering rendition of the sorrowful "He was despised" was possibly the finest I have ever heard.

Other soloists fared less well. Soprano Emily Van Evera delivered her assignments with poise and grace, but for a widely respected veteran in the international community of early music singers, her passivity and lack of presence were disappointing. She failed to offer much beyond merely pretty singing. Tenor Nils Brown infused his singing with greater individuality, though there was audible effort in the higher tessitura passages of the opening recitative and aria. The veteran bass English David Thomas still delivers a solid column of sound and an impressive agility, as evidenced in the nicely embellished "The Trumpet shall sound." But unfortunately, the selected variant of "But Who May Abide" seemed to expose the shortcomings rather than the strengths of his instrument.

No one, however, was more deserving of the standing ovation at the end of the performance than the ABS chorus. Offering an uncommonly attentive performance, the chorus delivered each layered entrance with crystalline clarity and served up the dreaded melismas with breathtaking ease and agility. The unified smoothness and evenness of phrasing were a marvelous revelation indeed.

(Ching Chang is a regular contributor to the SF Bay Times and The SF Gate.)

©1999 Ching Chang, all rights reserved