Saturday 22 November 2008
Cadogan Hall, Sloane Terrace, SW1
Handel Messiah
Thames Philharmonic Choir
Thames Festival Orchestra

Highlighting "Handel Year", the Thames Philharmonic Choir, conducted by John Bate, presented a complete performance of his celebrated Messiah at Cadogan Hall on Saturday 22nd November, with Rachel Chapman (soprano), Ruth Peel (alto), Daniel Joy (tenor) and Jeremy White (bass). Uncut, it's a tough call to maintain energy and momentum through the entire, extended duration of such a familiar work, but this was a challenge met with cool authority and insight by John Bate and his committed team. There was a wonderful variety and bewitching pulse to the unfolding performance, which bore the listener along in a fluent narrative, by turns delicate, charming, dramatic, energetic, powerful and inspirational.

The choruses were handled with fluent precision. Tightly controlled melismas were characterised by an engaging lightness and clarity, with no hint of the muddiness often expected with larger choirs. After three sterling hours, rather than flagging in energy, as the work approached its majestic conclusion, as one, the choir soared to match the occasion with a vitality and freshness no less secure than if the work had only just begun - appearing ready to do it all over again!

An excellent team of soloists complemented the work of the choir with dedication. The bass Jeremy White is a much-respected, trusty and seasoned hand, but seemed rather unwell that evening. In such circumstance a professional has a difficult choice between letting the side down by withdrawing, or heroically soldiering on when they know they are not at their best. Jeremy's easy, fluent delivery, consummate professionalism and warm stage presence engaged very well with the audience, but the top of his range was clearly strained. The intonation in 'The Trumpet shall sound" drifted markedly, presenting the unfortunate cellist playing continuo with a dilemma: stay with the organ tuning, or follow the soloist. Choosing the latter option produced the bizarre effect of a fixed-pitch organ appearing to play out-of-tune. The result was an apt musical metaphor of 'this corruptible' aspiring to 'put on incorruption'! But in any case such moments are all part of what makes live performance such a vital experience. A world where all the rough places are made plain is a dull world indeed.

The soprano Rachel Chapman was a revelation, from the angelic tones of "There were Shepherds" through to the inspirational "If God be for us", which formed a fitting and powerful climax to the evening. Her unmatched, beautifully shaped, exquisite rendition moved many in the audience to tears. Notwithstanding the excellence of the other performers, it would be worth travelling the length of the country to hear Rachel's solos alone.

Although, of course, an unquestionable masterpiece, a performance of such a familiar work as Handel's Messiah needs to be very special indeed to make its mark. There is no question that this authoritative performance stands as one of the jewels in the crown of Thames Philharmonic Choir and its indefatigable conductor, John Bate.

Kevin Jones, November 2008