Perth Choral Society @ Perth Concert Hall

Dec 12 2008 by Our Correspondent, Perthshire Advertiser Friday

THE sustained enthusiastic applause heard in the Concert Hall on Sunday night bore testimony to both the perennial popularity with the public of Handel’s Messiah and the excellence of Perth Choral Society’s performance.

The singing of the four soloists was splendid. The trusty Angus Chamber Orchestra, led by Audrey Mattner with Howard Duthie at the harpsichord, provided a thoroughly professional accompaniment. Peter Rutterford conducted with his usual vigour and command.

The Overture Handel wrote for the Messiah, played excellently, it should be said on this occasion, seems a mere formalism, an empty convention, not a necessary introduction germane to the work. Perhaps some day a bold conductor will omit it and let the tenor’s recitative Comfort Ye open the work. In these two simple words lie the Messiah’s message, which the rest of the work substantiates. No one could better soloist Shaun Dixon in strength and clarity of voice and the calmness, assurance and comfort his mien bespoke. He was wonderful.

The response of the chorus in And the Glory of the Lord was sympathetic, thoughtful and measured, building to a grand climax. This relation between soloist and chorus was a feature sustained throughout, so that the narrative had a cohesion and powerful momentum.

Soprano Emma Smith, not the strongest sounding voice but sweet and pure, in the Shepherds’ sequence led the choir into a resounding Glory to God. Paul Keohone’s warm mellifluous bass ennobled the aria The People That Walked in Darkness. The promise in this prophesy was followed by a lovely, joyous dancing chorus For Unto Us a Son is Born. The soloist’s Attack and indignation which marked Why Do the Nations so Furiously Rage Together prompted a resolute and assertive determined Let Us Break Their Bonds Asunder from the choir.

The first half of the second part which deals with the suffering of Christ is deeply moving. The sequence begins Behold the Lamb which the choir charged with reverence. Frances McCafferty’s singing of He Was Despised was superb, every phrase perfectly shaped, heartfelt, pain depicting.

The choir reacted with sensitivity and strong feeling in Surely He Has Borne Our Griefs, And with His Stripes We Are Healed, and We Like Sheep, and in He Trusted in God there was spitting scorn.

In part three in a beautiful poignant singing of I Know That My Redeemer Liveth, Emma Smith predicated a sombre, deeply felt Since By Man Came Death from the chorus. The instrument rang out thrillingly in The trumpet Shall Sound, with Paul Keohone at his imperious best.

The Hallelujah Chorus provided the choir with a great full throated sing, but most stirring and uplifting was the end sequence, Worthy is the Lamb and the Amen. It left the audience in raptures.

The choir now has nearly 100 members. There is a preponderance of ladies, and the gentlemen are due a special commendation for most ably holding their own.

Sigurd Scott