Something was missing
Garth Wilshere
Handel’s Messiah, Orpheus Choir, soloists, Vector Wellington Orchestra players, conductor – Michael Fulcher, Wellington Town Hall, December 4, reviewed by Garth Wilshere
I WAS really looking forward to this Messiah.
The large choir sang very well with clean articulation and accuracy. The small group of instrumentalists; mostly Vector Wellington Orchestra players, performed with reference to baroque sensibility, with a crisp vibrato-less sound.
Everything was there, the choir were well prepared, (and sang some choruses from memory), but it was a bloodless, soulless and rather pallid performance. Something was missing.
Tempi were generally on the sluggish side and missing were momentum and energy from conductor Michael Fulcher. There was no real sense of engagement from the performers.
The slow start was evidenced by the deathly silence after Part I and before interval when timid applause didn’t break out until the performers had already started to leave the stage. Even “the” Hallelujah chorus during which the audience dutifully stood, didn’t have the impact I wanted or expected.
The performance didn’t really come to life until Part III when, though the choir were tired, they seemed more energised.
Continuo playing was excellent as were timpani, trumpets and wind but the string players were not always at their best.
All the soloists sang well, with tenor Keith Lewis, elegant, beautifully sensitive and nuanced, mezzo Helen Medlyn intense, soprano Ana James fresh and pure with an attractive hint of vibrato and bass Martin Snell rich and sonorous, bringing some theatre, drama and gravitas to the performance as did the interaction in the mezzo – tenor duet O death where is thy sting? near the end.
By the end the audience were on their side and gave a standing ovation.
I WAS really looking forward to this Messiah.
The large choir sang very well with clean articulation and accuracy. The small group of instrumentalists; mostly Vector Wellington Orchestra players, performed with reference to baroque sensibility, with a crisp vibrato-less sound.
Everything was there, the choir were well prepared, (and sang some choruses from memory), but it was a bloodless, soulless and rather pallid performance. Something was missing.
Tempi were generally on the sluggish side and missing were momentum and energy from conductor Michael Fulcher. There was no real sense of engagement from the performers.
The slow start was evidenced by the deathly silence after Part I and before interval when timid applause didn’t break out until the performers had already started to leave the stage. Even “the” Hallelujah chorus during which the audience dutifully stood, didn’t have the impact I wanted or expected.
The performance didn’t really come to life until Part III when, though the choir were tired, they seemed more energised.
Continuo playing was excellent as were timpani, trumpets and wind but the string players were not always at their best.
All the soloists sang well, with tenor Keith Lewis, elegant, beautifully sensitive and nuanced, mezzo Helen Medlyn intense, soprano Ana James fresh and pure with an attractive hint of vibrato and bass Martin Snell rich and sonorous, bringing some theatre, drama and gravitas to the performance as did the interaction in the mezzo – tenor duet O death where is thy sting? near the end.
By the end the audience were on their side and gave a standing ovation.
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