Messiah
“And that perspective is the role the artist must fill. Music is story, and story is human.”
With the holiday season now over, we reflect on our last concert of 2025. We had the delight of attending the now holiday season classic, “Messiah” by George Frideric Handel. In many ways Baroque music now feels intertwined with the holiday time, and so such a genre performance was a must see for us.
As we wanted to hear baroque music, we knew it had to be Tafelmusik. Baroque is what they do best, and they exceeded exceptions this past December at Koerner hall. This performance which is now an annual tradition for so many in the city, was our first time hearing Tafelmusik's take on this canonical work.
Of the whole performance, it was no surprise it was technically stunning. This work especially puts the chorus through the paces of melismatic singing, with some sections even having the singers synced with sections of the orchestra. Everything was tight and polished, everyone together as one organism.
Something we noticed that was an amazing reminder of the value of seeing different ensemble renditions, was the use of the original period ornamentations of the piece, with specific note of the Hallelujah chorus. Without the score in front of us, we cannot be totally sure what was notated, but the entire ensemble added a trill at the end of the chorus’ phrase "For the Lord God omnipotent reigneth". From our experience with scores and our lived experiences as choristers, this is not often done/notated in music, in favour of an unornamented line. It is this stylistic and period authentic performance that makes Tafelmusik stand out from the rest in the city.
Another moment of such interesting interpretation was the opening of the section "He trusted in God.” This phrase is a notoriously (be it singer choice or notated in the score) forte or even a fortissimo line, where the basses, often given an afterthought in choral music, really have their opportunity to lead the charge. With Tafelmusik however, it was a much softer entrance, mezzo-forte if not mezzo-piano. The tone totally changed from what one familiar with the work might expect. It gave a sense of drama, intrigue, betrayal, as they sing about the condemnation of Jesus. It was a change enough for us to notice, and its interpretation is one that sparked curiosity.
Moments like these are what really shine about oratorio. They lend to story, drama, personality, as they literally tell a story rather than a collection of separate pieces brought together.
The soloists did their part to great effect telling said story. Alto Krisztina Szabó was dramatic and passionate. Soprano Stefanie True was light and clear, the part of the angelic messenger. Tenor Benjamin Done, who was filling in for Nicholas Scott who had fallen ill, was commanding and an excellent narrator. Bass Jonathan Woody was full of life and took on his character with very charismatic singing. The array of soloists really shined in their roles, adding more perspectives and uniquely passionate takes on the work.
And that perspective is the role the artist must fill. Music is story, and story is human. To share a story flatly is not to aid in understanding, and thus the artist must help us understand on every level the outcome of the tale. And this is what Tafelmusik did, they showed us the story of the life of Jesus though Messiah in a way that was new to us, and the understanding of one of the most told stories in the west was given a new take.