A Messiah to Remember

By Bryce Christensen

            No word serves Christmas-season advertisers more reliably than the adjective new as they entice us to buy new clothes, new jewelry, new electronic entertainments.  But with two splendid Heritage Center performances of Handel’s Messiah on December 13^th and 14th, the Orchestra of Southern Utah (OSU) and the Messiah Chorus reminded hundreds of appreciative listeners of the power of a time-honored musical tradition to renew all that makes the holiday marvelous. 

            From the familiar but still stirring strains of the opening Overture to the to the last regal Amen of “Worthy is the Lamb,” the performance made fresh and vibrant once again the range of feelings that elevate Christmas to its special place in our shared lives.  Except perhaps for the innovative placement of a subchoir in the balcony for “Lift Up Your Heads, O Ye Gates,” the choir and orchestra offered nothing surprising.  Indeed, in this year’s judiciously abbreviated version of Handel’s lengthy original masterpiece, listeners heard only the most familiar numbers.  Yet who was not surprised nonetheless at the way these timeless pieces—beautifully rendered—defy the years as they evoke yet again the deepest emotions of the season.

            Without doubt, high praise goes to the soloists, whose talents endowed 250-year old music with potent new life.  First in this distinguished group, tenor Benjamin Tyrrel sang “Comfort Ye My People” and “Every Valley Shall Be Exalted” with intense yet controlled passion.  Likewise impressive, alto Geneil Perkins offered radiant interpretations of “Behold! A Virgin Shall Conceive” and “O Thou That Tellest.”  And the audience may have wondered if they had not unaccountably slipped into the very heavens as soprano Regan Hanselman poured forth the soaring strains of “There Were Shepherds Abiding in the  Field,” “And the Angel Said Unto Them,” and “And Suddenly There Was With the Angel.”

            Celestial in the rich texture of her voice, Taliah Johnson rendered “Then Shall the Eyes of the Blind be Opened” and the first part of “He Shall Feed His Flock Like a Shepherd” with rare poignancy, yielding the spotlight to soprano Meredith Morse, who completed the second number with remarkably lyric yearnings.

            Though the youngest of the soloists, Tristan Schulties sang “Behold, I Tell You a Mystery” and “The Trumpet Shall Sound” with an astounding mastery that invested his performance with all of the gravitas and authority typically associated with a seasoned bass.  What is more, listeners could only marvel during “The Trumpet Shall Sound” at the wonderful way Schulties’ vocal mastery perfectly meshed with the instrumental brilliance of trumpet soloist Robert Carnesecca, whose piercing intensity aroused the audience to keen admiration. 

            As the final soloist, soprano Kenisha Thompson performed “I Know That My Redeemer Liveth” with a stunning and radiant vibrancy as she musically affirmed the miraculous source of all Christian hope.

            The luminous gifts of the soloists, however, could not obscure the essential and likewise remarkable collective performance of the orchestra and chorus.  Under the gifted and indefatigable baton of director Xun Sun, the orchestra captivated listeners with their profound devotion to the music they played, whether behind the vocal soloists and choir or in the entirely instrumental passages—such as in the opening Overture and the Pastoral Symphony.  Similarly deserving of favorable attention was the choir, well prepared by choral director Adrianne J. Tawa.  Having attracted a larger number of voices than in some past years—with a particularly notable increase in the male voices--Tawa had her ensemble ready to absolutely transport the audience with the musical floodtides of “And the Glory of the Lord,” “For Unto Us A Child Is Born,” and “Glory to God.” The audience needed no prompting to leap to their feet not only in traditional response to the “Hallelujah!” chorus but also in spontaneous gratitude at the conclusion of the concert. 

For though most in the Heritage Center audience had heard every single number many times before, all felt—and gave thanks for--the ever-new thrill of inspiring music, movingly performed.     

Podcast Hostess: Sandy Hedgecock
Recording: Pete Akins
Mixing: Ken Hedgecock
Photo used by permission