‘Messiah’ rose
- above hall’s |
poor acoustics
THE sheer dynamism of conductor Sir David f»‘
Willcocks made Guildford Philharmonic’s perfor- |
mance of such a familiar work as Handel’s Messiah into an exciting event.
His experience of extracting the musical best from chonrs
stretches back to the Second World War and, on Saturday, in
the less-than-favourable venue of Guildford Civic Hall where
~ choral acoustics are poor, he achieved an excellent result.
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The choice of the Messiah proved just how popular familiar
works are with the concert-gomg public. It is probably performed several times a year in Surrey, yet the philharmonic
was in the position of turning people away from the doors on
Saturday night.
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The lucky ones with tickets, however, were inhibited with
their response. Applause was polite, though enjoyment was
obvious.
A
There was a good line-up of soloists in soprano Tracey
| Chadwell, counter tenor Nigel Short, tenor Andrew Murga.. { troyd and bass Alastair Miles.
The counter tenor is a definite personal taste — you like the
tone or you don’t.
Nigel Short’s voice is very good and his performance of 4nd
Who May Abide was particularly impressive.
Bass Alastair Miles was on great form, returning to Guildford Philharmonic after his 1988 performance of the Mozart
Requiem. He was outstanding, producing a very big sound.
Tracey Chadwell also sang well, especially as a cold earlier
in the week had put a question mark over her appearance. The
sound was slightly nasal, but she rose magnificently to a rather
quick performance of the piece de resxstance — I Know That
My Redeemer Liveth.
Tenor Andrew Mu
yd’s golden moments came in Behold And See and Every Valley . .. Few works can have such a
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wealth of opportunities for e‘ery singer, be they soloxst or
choir member."
The orchestra couldiiave been a little bigger to counter thc
strength of the phmummk choir, but overall it was a con.
vincing performatice.
Jane GW
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THE ADVERTISER MARCH 16, 199
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