Handel’s Messiah is by many considered to be the greatest choral work in the Western world. But just as much as it is adored, it is also loathed on the same breath for its repetition year after year. With all the “microwave” performances of the work by choirs who simply dust it off year after year, warm it up and them perform it as they always have, it is easy to see why some audiences grow weary.
A performance like the one led by Dr. J. Owen Burdick and the Choir and Baroque Ensemble of Church of the Ascension and Saint Agnes would turn any skeptic around about the power of the grand oratorio. Thoughtful performances such as Sunday’s performance by Burdick and his fine ensemble revealed a new perspective to the work, through fresh lenses. The church was full for the anticipated presentation and it was also a ‘debut’ sort to speak for Burdick. Arriving to D. C. in 2008, the distinguished music director came quietly with little fanfare. Sunday’s performance under his direction was only a foretaste of his impact on the D. C. Baroque music scene.
The overture was remarkably different. In the beginning, Burdick conducted the baroque ensemble at a restrained dynamic. Then at the return of the theme, the ensemble played with a more marked articulation. This contrast in dynamics and rhythmic stress was a wonderful diversion to the usually over-dotted style of the French overture.
Tenor Stephen White offered forth “Comfort Ye” and “Every Valley.” White’s voice was of a light, attractive quality, but at times got lost in the acoustic of the sanctuary.
In recent years, audiences have grown accustomed to seeing four principal soloists. For this performance all of the soloists were taken from the choir. It was a thrilling effect to listen as each individual soloist brought a unique dimension to their aria. Each section for Sunday’s performance was divided into scenes in the printed program. The choir itself was quite impressive, singing with a lovely blend and verve. Burdick not only shaped the phrases for the choir, but was magnificent in his gestures, very precisely conducting the same nuance to the ensemble that he wanted from the choir. For that reason, the performance never appeared to be instrumentalists accompanying singers. In fact, the artists achieved a sense of true ensemble, one with each other and the music.
Bass Doug Youcum sang with impressive command and vocal color in his arias. Countertenor Chris Dudley gave a thrilling interpretation of “O Thou That Tellest Good Tidings to Zion.” Dudley was a good steward of stylistic performance practice, dispatching a series of impressive ornaments in the aria. Soprano Katelyn Aungst beautifully floated her lines in the recitatives and arias, leading up to the choir’s majestic “Glory to God.” In “Rejoice, Greatly” Ms. Aungst executed the runs with great exuberance. Kristin Dubenion-Smith sang a moving “He was Despised.” that so effectively transported the listener to the foot of the cross. Her compelling rendering was a reminder for many that He was born to die.
“He Shall Feed His Flock” and “Come Unto Him” are perhaps two of the most moving solos in the work. On the last phrase, “and he shall find rest.” soprano Robin Smith gently glided into the heavens, as if it were an announcement from the angelic hosts.
The choir never failed to impressive. Just when it was thought that the same old interpretation of the choruses would be heard, a fresh nuance was pointed out.
At the end of “His Yoke is Easy” there was a noticeable ritard on the ending phrase “his burthen is light.” The effect was gave such a fresh dimension not only to the music, but so effectively presented an almost visual picture of the text’s intent.
Well thought out performances of this work, like this presentation by the Choir of Church of the Ascension and Saint Agnes is what the community needs to keep the freshness and vitality of Handel’s Messiah alive and vibrant.
Add this Messiah to the top of your annual performances. It looks like there is a new sheriff in town and he is going for Baroque!
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