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A sellout 500-strong audience at The Manchester Monastery, Gorton heard Manchester Camerata, the city’s innovative orchestra, together with artistic partners Kantos, breathe life into Handel’s most celebrated work.
Billed as ‘Handel’s Messiah: A New Perspective’ the orchestra were conducted by Kantos’ leader Ellie Slorach rather than their own musical director and she literally took centre stage for the performance with the orchestra on one side and the Kantos singers on the other. With the audience surrounding them on four sides, the ‘New Perspective’ perhaps referred to their rearrangement after the interval as the musicians and choir swapped places, thereby affording the viewing public the best possible view and acoustics of their combined efforts.
Manchester Camerata have garnered something of a reputation in their 50-year history for their bold interpretations as well as their community work. As one national newspaper put it: “They are simply really good – in a way that’s easy to thrill to but hard to describe.” They moved to their present HQ at the former Franciscan Friary in Gorton during the 2020 lockdown and it is hard to imagine a more perfect setting for this work with its soaring spire and an acoustic quality other ensembles must be envious of.
Composed in 1741, Handel’s ‘magnum opus’ is constructed in three parts, each split into ‘scenes’ and usually described as an oratorio (which is more or less an opera without the acting and costumes). But in fact there is very little direct speech sung during the work – rather the text was taken (by Charles Jennens) directly from the King James version of the bible and the 1662 Book Of Common Prayer. As such it describes Jesus Christ’s life from prophesy, annunciation, Passion and resurrection. It was first performed, not in England but in Dublin in 1742 where it was favourably received before receiving its London premiere a year later. And surprisingly, given its prominence in the classical cannon today, 18th century Londoners were relatively underwhelmed by its arrival, with many protesting that the subject matter was not suitable material to be performed in such profane surroundings as London theatres. Indeed of the six initial London performances, Handel cancelled three himself following the subdued reception.
Subsequent renditions across the centuries though, both in Britain and overseas, secured its place as a major choral work and it has become part of Manchester Camerata’s repertoire now for many years with their pre-Christmas concert always proving popular. And this performance was no exception. Orchestra leader Katie Stillman guided a 27 strong ensemble, including harpsichordist Harvey Davies whose distinctive sound helped place the piece firmly in its English Baroque context, through a beautifully conceived performance.
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And further evidence of the orchestra’s and choir’s determination to provide a ‘new perspective’ on such a well-known piece came with the soloists. Firstly, tenor Zahid Siddique starting his second movement from a position behind most of the audience and gliding towards his position centre stage, and then subsequent soloists: Elspeth Piggott and Helen Lacey from the soprano section and altos Jessica Conway and Jessica Gillingwater as well as basses William Kyle and Henry Saywell taking their solos on a stroll around the front rows of the audience affording an excellent view and sound. The third part of The Messiah contains a movement: ‘The Trumpet Shall Sound’ which is often performed by an instrument played from the wings to give the impression of a distant trumpet call. This version used the inspired idea of placing the instrumentalist and the bass soloist high above us on a gallery overlooking the nave of the monastery giving it an ethereal quality entirely appropriate to the piece.
Worth mentioning was the unexpectedly eclectic audience, who ranged from 18 to 80 and older – and no doubt younger too. There were clearly choral, and in particular Messiah, afficionados amongst them as illustrated by their ready knowledge of the tradition of standing for the ‘Halleluiah’ chorus (which, as might be expected, was extremely enthusiastically received) – but there were classical novices present as well, encouraged no doubt by the orchestra’s inclusive policy of offering £3 tickets to Gorton residents. And judging by the applause at the final bow, which seemed to sound out around that enchanted space for what felt like an age, they were one in their appreciation of a truly beautiful start to the festive season.
Manchester Camerata are next performing ‘Hearing Voices’ again in conjunction with Kantos at The Stoller Hall, Manchester on Friday 5th April, and then ‘Disruptors’ at Albert Hall, Manchester on Thurs 2nd May. For tickets go to www.manchestercamerata.co.uk
