Review: Scottish Chamber Orchestra, Handel's Mesiah, Usher Hall

Published on Friday 26 November 2010 08:20

SCOTTISH CHAMBER ORCHESTRA HANDEL'S MESSIAH **** USHER HALL

IT is well known that immediately after composing Messiah, Handel changed his mind about parts of it before the Dublin premire, and he went on to make further revisions in later performances.

There is no definitive version of the work. Today's concert-goer has to approach it open-mindedly, not only in respect of items that are included or omitted, but also for stylistic reasons. That their choirs and orchestras can vary greatly in size has an inevitable effect on the impact of different conductors' readings of the work, and it follows that some listeners prefer smaller-scale, authentically intentioned versions while others still adhere to the weightier approaches that were in vogue during the earlier years of last century.

The late Sir Charles Mackerras's replacement, conductor Stephen Layton opted for the middle ground in yesterday evening's performance. His choir of forty-four voices coped adequately over a wide dynamic and expressive range. In All we like sheep their pointed diction added a hint of unsuspected humour and their Amen chorus reflected sensitive thought for the musical idiom.

Heading a splendid quartet of soloists, Sophie Bevan (Soprano] was outstanding. From her first group of recitatives it was obvious that she knows how to phrase and embellish Handel's vocal lines. It was good to hear Christine Rice (Mezzo-Soprano] singing the whole of the aria He was despised, for the middle section is often omitted. Tenor Allan Clayton's Thou shalt break them was invigorating. Supported by a bright obbligato from Peter Franks, Matthew Rose (Bass] rounded off the evening with a spirited interpretation of The trumpet shall sound.

Although the SCO's string section of two dozen players acquitted themselves on the whole well, there were sadly not enough of them to produce sufficient roundness of volume in the larger choral moments.

It remains to note that the platform arrangements were rather awkwardly handled. The more conventional placing of two soloists on each side of the conductor obviates the need to walk halfway across the stage from seats stuck away at the back of the orchestra every time they have to sing.