Distinguished Concerts International New York (DCINY) Presents “Mozart’s Messiah” in Review
Jonathan Griffith, DCINY Artistic Director and Principal Conductor
Penelope Shumate, Soprano; Veronica Pollicino, Mezzo-Soprano;
John McVeigh, Tenor; Christopher Job, Bass-Baritone
Stern Auditorium/Perelman Stage, Carnegie Hall, New York, NY
November 27, 2022
Distinguished Concerts International New York (DCINY) kicked off the holiday season in style once again Sunday with their annual presentation of Handel’s Messiah at Carnegie Hall, and it was as grand as one always hopes, a moving return to tradition after the massive disruptions of the pandemic.
For those who may have been confused by DCINY’s billing of it as “Mozart’s Messiah,” never fear that you are confused about your music history – this was indeed Handel’s Messiah – simply re-orchestrated by Mozart. It is hard to review this work without unraveling some of its history, so the less interested reader may want to skip ahead. To sum things up, there are several versions of this masterpiece that have been regularly heard since its tremendously successful premiere in Dublin in 1742 (including the various revisions Handel himself made), and DCINY has done it several of these ways, including the much later Eugene Goossens version, which they recorded in 2019.
To add to the fun, I was especially interested this year to see that DCINY had chosen Mozart’s version, reset as Der Messias (KV572) in 1789, because I assumed (incorrectly) that it would be sung in German as Mozart had set it – which would seem quite a challenge for the many choruses that DCINY assembles from all over this country (and some other countries). After all, one of the distinguishing features of Mozart’s version (first presented in 1789) is the fact that it employs a text translated to German (by Christoph Daniel Ebeling in 1775) from Handel’s original English, the Charles Jennens collection of Bible passages. Aside from the use of German, the most remarkable changes that Mozart made include the addition of winds – pairs of clarinets, horns, flutes, oboes, and bassoons. To my surprise, given the billing as “Mozart’s Messiah,” DCINY presented this Mozart version in English. The result was arguably the best of all possible worlds – fuller in texture and color than Handel’s version, via the orchestral genius of Mozart (yet more intimate than the full-blown Goossens version) and directly communicative in its original language of English, making it more accessible to much of the audience.
With a knack for what is accessible and assimilable, DCINY also limited the performance to what has become known as the “Christmas portions” of the work (Part I with the “Hallelujah” chorus from Part II as its finale), even promising a special appearance by Santa Claus (who could be seen by those looking upward towards the balcony during the standing Hallelujah).
On to the performance, the orchestra and choruses were as ever in good hands under the direction of DCINY Principal Conductor and Artistic Director Jonathan Griffith. He led the orchestra in a taut opening Sinfonia and held the reins well from there through to the rockier moments of “The yoke is easy” (which ironically is not easy) and onto the triumphant closing Hallelujah, for which he gestured to the audience to stand (in the traditional homage established by the awestruck King George II of England in 1743).
Meanwhile, there were numerous highlights among Recitatives and Airs by the four outstanding soloists, some of whom this reviewer has enjoyed hearing on prior occasions. All of them were exceptional for clarity of diction, a notable achievement, as even with an English text one cannot always discern exactly what’s being said – one could in this performance. One did not need even to consult the printed program to follow, and that undoubtedly helped many to enjoy the music’s message.
Tenor John McVeigh was the first soloist, impressing this listener most with his emotional intensity in his “Comfort ye my people.” His “Ev’ry valley shall be exalted” was excellent as well, assured and uplifting.
Bass-baritone Christopher Job struck one immediately with his powerful resonance and true pitch in “Thus saith the Lord.” Even in rapid melismatic passages, where singing can often devolve into a kind of unfocused percussive breathing, he took the time to make each pitch truly sing. His “But who may abide the day of his coming?” was equally masterful.
The choral sopranos had some challenges, particularly with some tricky high notes, but their combined tonal quality seemed to work especially well for “And he shall purify.” It was awe-inspiring to see the convergence of all of these separately rehearsed choruses (DCINY estimates their usual combined numbers as between 100 and 500 singers, though I did not count). Kudos go to all of the individual conductors who worked with them for months, as well as to Maestro Griffith who blends them here in New York. The choruses were listed as the American International School Of Vienna High School Choir (Austria), Chesapeake Messiah Chorus (VA), L.A. Daiku Association, Inc. (CA), The Lakeshore Singers (PA), Richmond Choral Society & The Arcadian Chorale, Shanghai Voices International Choir (China), Sing Napa Valley (CA), Treasure Coast Chamber Singers (FL), Trinity Episcopal Church Choir, St., Mary’s City (MD), Warrenton Chorale (VA), and individual singers from around the globe.
Back to soloists, mezzo-soprano Veronica Pollicino did beautifully with “Behold, a virgin shall conceive” and “O thou that tellest good tidings to Zion.” She especially impressed this listener with her refinement. Mezzos can easily emerge as overly dominant in this piece, but not so here. Her voice was ample to project through the hall, but without being overbearing.
Rare moments of darkness in this uplifting program came in “For behold, darkness shall cover the earth” and “The people that walked in darkness” – but delivered via Mr. Job’s glorious instrument over pulsing strings, one might opt for more darkness! We then enjoyed “For unto us a child is born” with its remarkable imitative choral textures – and the pastoral instrumental “Pifa.”
Following the “Pifa” came the first entrance of soprano soloist Penelope Shumate, a musician who has been favorably reviewed in New York Concert Review several times. She did not disappoint. After her three excellent recitatives, she was simply exultant in the “Rejoice greatly, O daughter of Zion.” She handled some of its seemingly endless phrases without any apparent need to breathe, showing simply supernatural ease. She also excelled in the subsequent sections (“Then shall the eyes of the blind” and “He shall feed his flock”), which she handled solo, despite the program listing these as mezzo and soprano.
The Hallelujah Chorus then worked its magic, and it is safe to say that this music never wears thin. Supplemental choristers joined from the balcony, and it was a powerful and moving finale, followed by much loud applause and cheering – a brilliant start to the holiday season!
