The pulchritude of Wren’s Sheldonian theatre provides an air of occasion to any concert, but it holds a particularly special pertinence for the works of Handel, whose fortunes were transformed by tremendously successful performances there within its hallowed walls in the 18th Century. In this performance of Messiah, Handel’s oratorio tour de force, such historical pertinence has not been lost on the reverent Oxford Philomusica, whose sacrosanct treatment of the work has kept alight a favoured festive institution of the world of Western music.
Under the perspicacious conducting of Marios Papadopoulos, the orchestra conveyed its divine subject with convincing vigour, leading us with a beautiful opening ‘Sinfony’ of the prenatal prophecies through to the tumultuous passions of Part II before extolling the revelations of the dramatic close – all we like sheep followed the orchestra’s faultless vicissitudes.
Providing the choral element was London’s phenomenal Echoris choir whose euphoric ‘Hallelujah’ was met with the traditional standing reception, and they subsequently enjoyed a mirrored standing ovation at the end which was richly deserved over a wholly uplifting harmonious offering. Similar praise must be given to the soloists; stand-in alto Amy Lyddon seamlessly delivered a vocal performance worthy of OP and Jeffrey Carl’s baritone presence showed real flashes of brilliance. However, the most substantial commendations must go to tenor Benjamin Hulett – who provided the deepest elements of narrative expression and charisma from the whole ensemble – and soprano Mhairi Lawson, whose breathtakingly beautiful voice commanded an unparalleled magnetism from the audience every time she approached the centre stage, her dramatic and decorative solos being the anachronistic Baroque soul of the entire evening. As a cumulative whole, then, the ebullient musical communion lacked very little and stood up as a singular triumph of celestial majesty.
Criticism may come in the form of accusations of conservatism, in that there was little in the way of deviation from custom or innovative interpretation, but I would much more strongly favour the view that this performance is a remarkable celebration of the traditional festivities with which Messiah has perennially been associated. Over the course of the messianic narrative come protean shifts in tone and sentiment, but above all it is a sense of unbridled splendour, of something truly heavenly at work, that assures its place as a fulcrum of both seasonal artistry and timeless celebration – such magnificent splendour was incontrovertibly captured here in a veritably stirring spectacle.