Distinguished Concerts International New York presents “Messiah…Refreshed!” in Review
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Jonathan Griffith, Artistic Director/Conductor
Penelope Shumate, soprano; Claudia Chapa, mezzo-soprano; John McVeigh, tenor; Christopher Job, bass.
Stern Auditorium at Carnegie Hall, New York, NY
November 25, 2018
The holiday season is now in full swing, with the post-Thanksgiving crush of shoppers trying to scoop up ubiquitous “Black Friday” deals and other irresistible goodies. In the midst of all this hoopla, Distinguished Concerts International New York (DCINY) presented their signature event and most anticipated concert of the year, Messiah…Refreshed! – DCINY’s blockbuster performance of George Frideric Handel’s Messiah. This was DCINY’s 8th anniversary performance of this magnificent work. For full disclosure: This listener reviewed the second (2012) and fifth anniversaries (2015) of Messiah…Refreshed!. The soloists, back for the third year in a row, were the “A-team” – soprano Penelope Shumate (www.penelopeshumate.com), mezzo-soprano Claudia Chapa (www.claudiachapa.com), tenor John McVeigh (www.uzanartists.com/ john-mcveigh), and bass Christopher Job (www.christopherjob.com). Eighteen choruses from California, Colorado, Canada, Illinois, Indiana, Minnesota, Pennsylvania, South Carolina, Texas, Virginia, Wisconsin, Hong Kong, Qatar, South Africa, United Kingdom, and “individual singers from around the globe” filled the ranks of the Distinguished Concerts Singers International chorus (with the program listing 467 singers). The audience members that filled the sold-out hall were rewarded with an afternoon that not only was musically fulfilling, but spiritually uplifting.
Messiah is no stranger to reworking and revision. There is no “definitive” version (“sing-along” editions and even a rock version have been heard). Handel himself rearranged and rewrote sections to suit his needs, and selections could be added or deleted based on the talents available. Mozart produced a version in 1789 that is still often used. The version presented by DCINY is generally attributed to Sir Thomas Beecham and Eugene Goossens, although Beecham’s contribution was overstated for many years by his widow. Lady Beecham’s claims were refuted in the 1990s; the score was completely Goossens’s work.
Beecham recorded this version in 1959; it is still available on CD today, and while some consider it the “gold standard, ” it continues to be controversial. Traditionalists who believe that Handel’s conception should remain true to the original find the Goossens version to be vulgar, while its proponents aver that the expanded forces enhance the grandeur of the work. This reviewer is firmly in the later camp.
As I stated in 2012; “Make no mistake; this is not your great-grandfather’s Messiah. It is brash, extroverted, and at times bombastic. It is not Messiah – it is MESSIAH, with double the sound, new and improved, with cymbals and triangle! It is Messiah on steroids, the epitome of the saying ‘Go big or go home.’” Those words are just as true in 2018 as they were then. What this listener was wondering was how this year’s performance would compare to 2012 and 2015. The quick answer is that the 2018 version exceeded both.
One can credit this success to conductor Jonathan Griffith. Dealing with such gargantuan forces can be like trying to herd cats. It would be so easy to lose control, but Griffith has proven time and time again that he has an uncanny ability to master these large forces. He is part coach, part drill sergeant, and part wizard all rolled up into one! His direction focused on delivering the big sound of Goossen’s version without overwhelming the singers and without losing focus on the music itself. The playing was excellent throughout, and while I admit I missed seeing and hearing the exuberance of the percussionists from prior years (especially 2012), the net effect was one of a more polished performance that reflects Maestro Griffith’s heightened refinement of the work. The choruses (the chorus for Part One gave way to a different chorus for Parts Two and Three) were prepared well by their respective leaders. Their balance was exceptional, the diction was precise, and the strong direction of Maestro Griffith helped inspire them to a level higher than they probably imagined was possible.
The four soloists, the “A-Team,” all brought their “A-game” today. To sing Handel’s demanding solo parts is challenging enough for even the most accomplished of singers, but to avoid being overwhelmed by the large forces behind them and to project a tone that is neither strident nor forced make up a tall order. That order was filled. Strength and confidence are a hallmark of these talents; the vocal gymnastics that abound were dispatched with apparent ease (and easy it was not!). There was never a moment when any singer was in peril of being drowned out. There is much to praise, but I will try to focus on highlights for each. Soprano Penelope Shumate’s bright voice soared, but she also enchanted in softer passages. Rejoice greatly, O daughter of Zion had remarkable flair. Mezzo-soprano Claudia Chapa continues to astonish with her robust voice (with the added reality of the orchestra often being in the same register), but her exquisite sensitivity in her shaping of phrases was truly striking. Her He was despised was, as before, this listener’s favorite. Tenor John McVeigh’s clarity of tone and complete involvement were always front and center; Ev’ry valley shall be exalted was the highlight of his performance to this listener. Bass Christopher Job is a powerhouse. His voice commanded attention as it filled the entire hall. Why do the nations so furiously rage together? was the high point of his outstanding singing.
One cannot speak about Messiah without mention of the Hallelujah chorus. This listener has been to many DCINY concerts, and Messiah in particular, so I knew the coming “surprise”. Both second and third tiers were filled with singers (the chorus from Part One), ready to rise on cue. I knew what was coming and when it was to occur, and I was braced for it – and yet once again, it blew me away! The sound of nearly five-hundred voices filling the hall as the audience stood (many of those in the audience singing along) was simply magnificent. Yes, it’s over the top, but it is still a thrill! The audience roared its approval at the end of the chorus. The applause continued for several minutes until Maestro Griffith beckoned the audience to sit down.
After this, Part Three is almost an anti-climax. The closing chorus, Worthy is the lamb that was slain, also had the participation of the singers in the tiers. The excitement built to a fever pitch, but there were no mishaps (as in prior years) after that final dramatic pause. The work was brought to a rousing close, and the audience responded with thunderous applause for the soloists, choruses, orchestra, and Maestro Griffith. It was a well-deserved ovation to a memorable concert. Congratulations to all!
