Farewell to Perth Concert Hall with Handel’s Messiah, Perth Symphonic Chorus and Perth Baroque Orchestra

Three generations on stage and four in the auditorium witnessed an historic last hurrah at Perth Concert Hall, evoking eons of expectation written into Handel’s time-honoured oratorio Messiah with the Perth Symphonic Chorus on Saturday. Conductor James Pratt coaxed the majesty of the opening Sinfonia from Perth Baroque Orchestra in broad then precise gestures, the silvery strains of violins and oboes infilled by low strings and harpsichord (Stewart Smith) as soloists awaited their cue. Tenor Benjamin Rasheed rose for the welcoming recitative “Comfort ye my people”, a generous tone and relaxed manner speaking then singing of salvation in the aria “Every valley shall be exalted. The chorus invoked “The glory of the Lord” with overlapping lines pealing out in exhilarating harmonies, introducing bass Robert Hofmann’s crisp diction for the recitative “Thus saith the Lord. Mezzo Fiona Campbell’s entry “But who may abide the day of his coming”, found drama in lyric and delivery. The chorus chimed in “And he shall purify”, sharing narrative and melodic lines with aplomb, echoed in ethereal oboes (Laura Biemmi and Niamh Dell). Isaiah’s messianic prophecy, “Behold a virgin shall conceive”, flowed with satisfaction and joy into “O thou that tellest good tidings to Zion”, Campbell’s intimate projection stripping centuries of patina from this Baroque masterpiece, making old things new again. Hofmann reset the mood to darkness in recitative and aria, drawing again on Old Testament prophecy before the chorus delicately unwrapped Christmas. “For unto us a child is born” was filled with delight in acclamation of the “Prince of Peace”, cascading in ecstatic waves across the stage. The first elements of the Gospel story shone through soprano Sara Macliver’s glittering recitation of Luke’s shepherds and angels. “Glory to God in the highest” rang out from the chorus, the ancient fervour picked up effortlessly by Macliver in “Rejoice greatly”, with power and grace setting off the melancholy of Baroque strings. Campbell returned in recitative then the duet, “He shall feed his flock like a shepherd”, bringing her practised partnership with Macliver alive in a wealth of vocal quality couched on soft strings. Macliver swelled the theme to quiet rapture across the hall and frank admiration from the chorus who answered with restrained relish in “His yoke is easy and his burthen is light”, the prelude to the interval. Curiously, Charles Jennens’ libretto does not name “Jesus”, focusing more on the eternal nature of Christ, the anointed “Messiah”. As the narrative turned to Easter in Part II, and everlasting life in Part III, the universal application of this vision unfolded. Portentous chords led in “Behold the lamb of God”, the chorus by turns hushed in awe then bold in praise to introduce Campbell’s pivotal aria, “He was despised”, with passion in the story and the telling. “Surely, he hath borne our griefs” erupted from the choir, finding resolution in healing words and the anthemic “All we like sheep have gone astray”, nimbly executed with deft direction from the podium. Renewed drama in strings and tenor led in “He trusted God”, solemnly intoned by the chorus over staunch cello and bass. Rasheed carried through the harsh truths of sacrifice, finding relief in “But thou didst not leave his soul in hell”; hints of hope picked up by the chorus in fanfare-like figures for “Lift up your heads”, and with grandiose organ and grandiloquent phrases in “The Lord gave the word”. Concertmaster Shaun Lee-Chen then stood to serenade Macliver for the translucent aria “How beautiful are the feet”; two bright ornaments of our era infused with the poignant charms of the Baroque. Devotion morphed to jubilation for the chorus, “Their sound is gone out”, then back to darkness in Hofmann’s bass and “Why do the nations so furiously rage together”, with exasperation oozing through desperate delivery. The chorus rose to the challenge in “Let us break their bonds asunder”, resolving to Rasheed’s tenor and Old Testament wrath for “Thou shalt break them”. All then stood for the Hallelujah chorus; trumpets (John Foster and Sarah Brown) pitching in with timpani (Tegan Le Brun) and full ensemble, rallying to an ovation for the ages. A limpid lilt in strings cooled the mood for Macliver’s crystalline soprano in “I know that my redeemer liveth”, stately and refined in tone and technique. “Since by man came death” crept in by stealth through the chorus then exploded via organ to full-voiced elation; fading to contemplation and reigniting in sure hope of the resurrection. “Behold I tell you a mystery” in bass recitative set up “The trumpet shall sound”. Foster soared to raise the dead in the last judgment, his piccolo trumpet and Hofmann’s bass straddling the range; ethereal yet grounded. Trumpets then found one last effort to gild the final chorus of blessings and amens. Violins again highlighted the human dimension before whole-souled chords tolled out a momentous finale. Perth Concert Hall is now closed for renovations.