Handel’s Messiah – Philharmonic Hall

What better way to shake of the Christmas/New Year blues than with the performance of Handel’s Messiah at the Royal Liverpool Philharmonic Hall in a tradition dating back to 1849.

Handel composed the oratorio in a mere 24 days in 1741, but despite a warm reception at its premiere in Dublin, it received a cooler response at its subsequent performance in London. Nonetheless, it has since become one of the jewels of English classical music, and the light shone upon it by each conductor reveals new facets and highlights different elements, and it never fails to sparkle.

This year’s performance saw baritone Ben Appl, a former BBC New Generation Artist (2014-16) and current Artist in Residence at the Philharmonic, making his conducting debut. He introduced the piece with a brief speech highlighting the message of comfort, peace, goodwill, and hope and its relevance to contemporary times.

Though it is difficult to find something new in a piece that is so well known, Appl managed to bring a sense of freshness while avoiding making changes just for the sake of being different. The performance was characterized by his elegant phrasing, extended dramatic pauses, and strong dynamics, highlighting the emotional intensity and reminding us that the piece is, essentially, based on storytelling with the narrative curve moving from the prophecies about Jesus’ birth and the nativity, his suffering and death, and the day of judgement and redemption for all.

The choir, under the direction of Joseph Judge, were as impressive as ever. The choral elements weaving in and out like threads in a tapestry, combining to provide the picture Handel wanted to portray with finely balanced waves and layers of sound. Though there were a few moments when end consonants weren’t quite synchronized, this is a minor complaint.

The soloists, especially James Way and Alex Rosen were also excellent at conveying the emotion and drama in the music. Ana Devin’s also soprano soared brightly, though Silke Gäng’s gorgeous voice was occasionally hard to hear, especially in the lower register, but, again, a minor niggle, and in general, and the drama of the recitatives was beautifully conveyed with tenderness, pathos, and joy.

Overall, the performance was one of immense musicality, with the choir, orchestra, and soloists quickly establishing a connection with the audience, and as all stood for the Hallelujah Chorus, there was a real sense that this event is not just about the music but offers a sense of community, of the humanity that links us all, resounding through the ages. I can’t wait till next year.

Ben Appl – Conductor

Anna Devin – Soprano

Silke Gäng – Mezzo-soprano

James Way – Tenor

Alex Rosen – Bass

Royal Liverpool Philharmonic Orchestra and Choir

Reviewer: Johanna M Roberts

Reviewed: 11th January 2025

North West End UK Rating: