The Long Library of Blenheim Palace may not have seemed the most obvious choice of venue for a performance of Handel’s most famous choral work, but it was perfect for what was a highly accomplished performance by all involved. Rows of Christmas trees flanked the courtyard of the Palace and spirits were festive as the audience entered the 55 metre Long Library, constructed just 40 years before Handel’s great work was composed.
With the chamber group and singers nestled in the centre of the room, surrounded by the audience, there was an intimate feeling to the evening, encouraging the audience to fully engage with the performance. The players, chorus and soloists were in such close proximity to the audience that every emotion on the performer’s faces could be seen. This was none more evident than in the expressive Accompagnatos of the outstanding bass, Ashley Riches.
This performance consisted of excerpts from all three sections of Messiah, composed by Handel in just weeks of the summer of 1741. Perhaps the speed at which the work was composed has some part to play in the fact that no definitive version exists. In any case, the chosen excerpts worked well, as did the structure and balance of the performers. The small and youthful string section was a delight, with technical ability and tightness of playing giving them no small credit. The Blenheim Singers’ enjoyment of the work was evident and conveyed an infectious enthusiasm. Together with the four soloists, whose close proximity to the audience presented no barrier to their very fine performances, they filled the Long Library with warm and joyous sound.
The Blenheim Singers have made their annual performance of Handel’s Messiah into a Christmas tradition worth waiting for. Long may it continue!
With the chamber group and singers nestled in the centre of the room, surrounded by the audience, there was an intimate feeling to the evening, encouraging the audience to fully engage with the performance. The players, chorus and soloists were in such close proximity to the audience that every emotion on the performer’s faces could be seen. This was none more evident than in the expressive Accompagnatos of the outstanding bass, Ashley Riches.
This performance consisted of excerpts from all three sections of Messiah, composed by Handel in just weeks of the summer of 1741. Perhaps the speed at which the work was composed has some part to play in the fact that no definitive version exists. In any case, the chosen excerpts worked well, as did the structure and balance of the performers. The small and youthful string section was a delight, with technical ability and tightness of playing giving them no small credit. The Blenheim Singers’ enjoyment of the work was evident and conveyed an infectious enthusiasm. Together with the four soloists, whose close proximity to the audience presented no barrier to their very fine performances, they filled the Long Library with warm and joyous sound.
The Blenheim Singers have made their annual performance of Handel’s Messiah into a Christmas tradition worth waiting for. Long may it continue!