Handel’s ‘Messiah’ Performed By Glyndebourne At Milton Keynes Theatre Review

Reviewed by Hilz

Venue:

Arrival at the theatre was easy. Plenty of free parking locally after 6pm. Plenty of eateries nearby also. A small queue had formed to show Covid immunity passes outside the main door but this moved quickly and easily. Hand sanitising stations were situated at the main door and throughout the building. The main doors were left open all evening for good airflow. Mask wearing was encouraged – although most people did not wear them. It was reassuring to see the safety policies in place. Milton Keynes Theatre is a pleasant venue and I found all the staff super-helpful. Sadly tonight it seemed that only approximately half the seats were filled. Our seats were KK 1 and 2 and had a great view despite being at the edge – it’s a well designed theatre so I do think that any seat would have a good view.

Performance:

I love this piece of music. One reason is because it is all about the “Messiah“ – Jesus. Every word is from the Bible and tracks the prophecies which foretold his birth, his rejection, his crucifixion and resurrection, and the many words of praise thanking God for sacrificing his only son to pay for the sins of mankind so that those who believe in him will be forgiven and united with him forever. It is beautiful, complex and majestic. Handel wrote the whole piece in only three or four weeks in 1741. I know almost every note of it having sung it as an amateur alto chorus member many times, however this was the first time I had heard the world-famous Glyndebourne Opera Company perform it – and they did not disappoint… The performance began promptly with the singers arriving on stage – all dressed in black – but all with a poppy as it was Armistice Day, the red lifting the look and giving a poignant reminder of what our forefathers sacrificed for us. The orchestra pit was fully open. The overture began and the relatively small number of musicians proved themselves more than able to fulfil their task excellently. The conductor – Ben Glassberg – was a joy to watch throughout

As the first recitative began, words appeared high above the stage white on black and continued throughout the performance as each new phrase was sung. Was this a distraction? Or helpful? Personally I felt it was unnecessary because the singers’ diction was perfect (and I happen to know all the words), but overall I expect that it was a good thing and that many people would have appreciated it. The tenor- Anthony Gregory- has a lyrical voice and welcomed us into the piece with engaging enthusiasm. The chorus were stunning – I counted only 35 of them on stage. That means that there were less than 10 of them per part – what an amazing sound they produced from so few! 

Interestingly most remained fairly expressionless throughout, but one alto on the end of the second row was really expressive facially, and I found myself fixing my eyes on her and enjoying the passion that she obviously felt for the piece. Next our bass appeared – James Platt – what a rich tone he has! A joy to experience! Then our mezzo soprano – Stephanie Wake-Edwards – singing the alto air ‘but who may abide’ – a soulful voice and an amazing range. Then the soprano – Carrie-Ann Williams – ‘rejoicing greatly’ – lovely. My next highlight was ‘he shall feed his flock’ – alto then soprano air – sensitively executed and truly beautiful.

After a 20 minute interval we returned to our seats with expectation. The lighting was much better in the second half. It had been rather basic during the first half, but suddenly during ‘lift up your heads’, a red background rose up from behind the stage and filled the backdrop– that did seem slightly random at the time, but added atmosphere nonetheless. Then there was a gold backdrop for the Hallelujah chorus. Now this was good – reminding me of the “glory”of God. Folk were a bit slow to stand for the Hallelujah chorus, but everybody that could did eventually. Now – what a Hallelujah chorus! – the soloists joined in and it was fabulous! The trumpeter in ‘the last trumpet’ was lyrical and clear. And I found myself smiling every time our bass James Platt stood up to sing!

Too soon the ‘Amens’  were ringing out, and the soloists stood and joined in the crescendo. I had wondered if the piece would move me to tears at any point as very occasionally choral music can do that. Near the end I thought that it hadn’t, but then the last few ‘Amens’ came – and the tears did too. Well done Glyndebourne.

Rating: 5 stars (5/5)

This was on at Milton Keynes theatre on 11th November 2021.

For more information or to book tickets please visit Tour – Glyndebourne.