Phillyist Reviews... Handel's Messiah

Nothing puts me in the holiday spirit like Handel's Messiah. Despite the fact that much of Messiah's subject matter is better-suited for Easter, it has made itself a Christmas-time staple of choirs around the world. Because of its length (three hours), it's not too often that you hear Handel's Messiah in its entirety, much less on period instruments. Some argue that modern instruments fill Handel's texture out, but I find that they detract from the refined, yet passionate nature of Baroque music. Early music group Vox Amadeus' performance of Handel's unabridged Messiah on period instruments at Holy Trinity Church was therefore a rare treat.

Even in its abridged form, Handel's Messiah presents the challenges of precision, articulation, and advanced musicianship to any group. Musical director Valentin Radu's clear love of this masterpiece showed through in his passionate conducting. The choir and the period orchestra responded wonderfully to Radu's precise and thoughtful dynamics and tempo choices. The choir executed the plentiful fast contrapuntal sections with clarity and ease, its jubilant tone carrying Handel's message of redemption through to the last row of the church from beginning to end.

The soloists were delightful as well. I was especially impressed by tenor Timothy Bentch, whose vast experience performing Handel and Bach showed in his careful choice of ornaments and presentation. I was surprised by how little he looked down at his score, conveying the glorious text to the audience with his eyes as well as his voice.

Vox Ama Deus will perform another Christmas concert, "A Renaissance Noel," at Arcadia University on December 22nd.

Image Credit: Flickr user poagao