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Article published Dec 2, 2007 Vermont Philharmonic delivers the joy of 'Messiah' By Jim Lowe MONTPELIER — Friday, at St. Augustine Catholic Church, there was one dominant emotion at the Vermont Philharmonic's performance of Handel's "Messiah" — joy. Guest conductor Brian Webb led the community orchestra and chorus, and four outstanding professional soloists, in a rich and rewarding performance of the Christmas part of Handel's masterpiece. (The program will be repeated today at 3:30 p.m. at the Barre Opera House.) It is likely that there is no more familiar piece of music, classical or otherwise, in the world. It was a popular hit soon after its 1742 Dublin premiere, and performances have been heard — and continue to be heard — virtually everywhere on earth.So then, how can this 265-year-old work sound so fresh? First, it's a timeless masterpiece. The music, words and spirit speak to today's audiences as much as they did then. Then, of course, the performance has to feel fresh, as if the performers are discovering the music for the first time. Familiarity can breed contempt, but that certainly was not the case Friday with North Montpelier soprano Celina Moore. She has been singing "Messiah" at least several times a year for as long as I have known her (and that's a long time). Well, her performance sounded as joyful as any of the teens in the chorus. And much more beautiful. Moore has lost some power in the lower register, but her high notes are brilliant, accurate and gorgeous. More importantly, she conveyed the depth and joy of the music. Perhaps the most touching moment in Friday's performance was the duet, "He shall feed His flock," for soprano and alto. Montpelier mezzo-soprano Carol Spradling, with a rich and expressive voice, began the simple melody only to have it taken over by Moore's pure soprano. Both sounds were beautiful, one contrasting the other, and the expressiveness was so heartfelt that the performance was touching and riveting. Webb, who has conducted the work countless times (he was the Philharmonic's music director for 20 years), chose an especially lyrical approach, though there was rhythmic incisiveness when appropriate. Although things got a bit loose toward the end, the playing was clean and the sound was warm. Principal trumpet Jo Anne Edwards delivered a particularly brilliant expressive solo in "The trumpet shall sound." Both male soloists were strong and forceful in the appropriate way. Brattleboro tenor James Anderson was almost macho as he delivered Handel's brilliant musical lines — but he could be sensitive when called upon. Montpelier baritone Arthur Zorn, though he had an odd habit of accenting the high note of each phrase, sang warmly and assertively. Accuracy among all the soloists was unusually good. The chorus, put together for this performance, was the richest sounding in memory, perhaps due to the wide age range of the singers. At Friday's performance
of "Messiah," there was joy in the audience as well
as on stage. |