Handel: Messiah (Concert Review - Early Music Review, 2006)

The conclusion of the St John’s, Smith Square Festival was the annual sell-out Messiah given by the outstanding choir, Polyphony, with the Academy of Ancient Music – an absolute must on the London music scene, alongside their Easter Bach Passions. However many times I hear these annual Polyphony Messiahs, they always sound fresh and invigorating, and there is always something new in Stephen Layton’s interpretations.

Polyphony goes from strength to strength, with excellent consort singing and not a hint of a wobble or a dominant voice. Although not a specialist period choir, they project an insight into the Handelian sound world that is rare even among the specialist choirs. Stephen Layton seems to get beneath the surface of the music and the text, exposing its emotional intensity and depth. I don’t know if he is a believer in the story Messiah tells, but I get the impression that he feels this music from his soul. His conducting is relatively restrained in comparison with many in today’s conducting community; but even though he must have conducted this work hundreds of times, he seems to inspire and invigorate the performers.

Iestyn Davies and James Rutherford returned from last year’s performance, as did Emma Kirkby (who was indisposed in 2005 and replaced at short notice by Carolyn Sampson). This year resulted in Andrew Kennedy replaced the indisposed John Mark Ainsley, and proved to be a very effective story teller. Iestyn Davies and James Rutherford continued the high standards that they achieved last year, and Emma Kirkby, whose voice does occasionally show its age, was on particularly good form.

Having whinged about it for years, I do now find myself looking forward to Stephen Layton’s annual bit of naughtiness, as he sends his continuo organist out into the cold to wind himself up the stairs and along the gallery to the huge liturgically ‘west end’ organ (actually at the east end) which enters quietly during the final Amen and builds to such a huge crescendo that it totally dominates the choir and orchestra and sends the heads of the audience spinning round to find where the sound is coming from. Not very HIP, but a wonderful send off into the Christmas season.

Andrew Benson-Wilson