A Muted NZSO 'Messiah'

Monday, 11 December 2017, 10:38 am
Article: Max Rashbrooke

A Muted NZSO Messiah

By Max Rashbrooke

After last year’s stripped-down – and very good – Messiah, I was expecting something completely different: an all-guns-blazing performance led by an Australian conductor, Brett Weymark, well known for renditions that feature as many as 400 singers. Instead what we got was a performance that couldn’t quite seem to make up its mind.

Lining up this year to sing Handel’s classic were the 140-strong Orpheus Choir, who quite apart from their technical excellence can obviously produce a big sound. But – confusion number one – they were paired with a pared-back orchestra in the baroque style. Then – confusion number two – said orchestra played at a tempo you’d expect to find in a period-appropriate rendition – but with Romantic dynamics, lingering swells and shifts of emotion that seemed to come from another era.

Perhaps in response – confusion number three – the choir were remarkably muted. It was odd to hear such a dull performance, especially under the baton of someone known for their choral work. But it was undeniable: in, for instance, what is usually one of the most exciting numbers, For Unto Us a Child is Born, the choir sounded entirely unenthused about the arrival of this infant, even though he – being, you know, Christ – is kind of a big deal, to borrow a line from Will Ferrell.

Similarly the thrilling climaxes of numbers like And He Shall Purify were disappointingly underplayed. The singing throughout was technically very good: no-one could complain about the accuracy, the blending or the basic quality of the voices. But there was very little passion, or punch, or urgency. It was all a little muted and polite.

The soloists were also slightly underwhelming, capable of some lovely moments but not possessing the resonance to give the work its full weight. Soprano Celeste Lazarenko and mezzo-soprano Deborah Humble combined beautifully for He Shall Feed His Flock, their majestic vocal lines matched by a rich, sweet sound from the NZSO players. Tenor Robert Macfarlane displayed some acting talent and a good dynamic range, especially in the opening Comfort Ye, My People, and bass Jared Holt was convincingly stern and forceful, with careful phrasing and musical intelligence (For Behold, Darkness Shall Cover the Earth was particularly good). But none of their singing was such as to blow one away with its beauty or power; the more testing runs were not quite carried off with conviction and some of the vocal work was frankly a bit muddy.

The NZSO’s sound was good throughout, especially in the sprightly opening and the gentle woodwinds of the Pastoral interlude. Some of the stripped-down moments, with just harpsichord, solo violin and cello playing, were a real delight. The real problem, as above, was trying to work out how that playing fitted into the wider picture – or whether there was, in fact, a convincing wider picture, something that never seemed certain at any point in the performance.

© Scoop Media

Max Rashbrooke

Journalist

Max Rashbrooke is a journalist and author working in Wellington, New Zealand, where he writes about politics, finance and social issues.

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