≈ 2 hours and 30 minutes · With intermission
Last updated: December 6, 2018
Handel’s Messiah is certainly one of the most popular choral works of all times. The magnificent music by Handel is as divine as it is earthy and direct, and very characteristic of the genius of the great German composer. There are many legends and anecdotes regarding this oratorio, which exists in several versions. All these versions were authorized by the composer, proving that Handel was a practical man, a man of theatre, who was always able to make the best out of his available “ingredients.”
The NAC Orchestra first performed Messiah in December 1970 led by Mario Bernardi with soloists Pauline Tinsley (soprano), Maureen Forrester (mezzo-soprano), Seth McCoy (tenor) and Donald Bell (bass-baritone). The Orchestra has performed it almost every December since then.
Chorus
Choristers from:
Cantata Singers of Ottawa (CSO)
Capital Chamber Choir (CCC)
Ewashko Singers (ES)
Rehearsal Pianist: Claire Stevens
Chorus Manager: Andi Murphy
Soprano
Donna Ager (ES)
Kristi Aruja (CSO)
Rosemary Cairns Way (ES)
Nadine Dawson (CSO)
Valerie Douglas (CSO)
Maura Forrest (CCC)
Deirdre Garcia (CSO)
Jennie Glassco (CCC)
Cait Hurcomb (CCC)
Sharon Keenan-Hayes (CSO)
Allison Kennedy (ES)
Sumin Lee (CCC)
Erica Loughlin (CSO)
Ilene McKenna (ES)
Jessyca Morgan (CSO)
Colleen Morris (CSO)
Christine Muggeridge (ES)
Sophia Nickel (CSO)
Cathy Patton (CSO)
Julie Payette
Aude Pull (CCC)
Kristina Roudiy (CSO)
Hannah Searson (CCC)
Mackenzie Stone (CCC)
Nicole Van Oosten (CCC)
Anna von Holtzendorff (CSO)
Alto
Barbara Ackison (CSO)
Wanda Allard (ES)
Pat Beckett (CCC)
Trish Brooks (CSO)
Judy Brush (CSO)
Elizabeth Burbidge (ES)
Vickie Classen Iles (CSO)
Janet Cover (CSO)
Nichole Ekkert-Vine (CSO)
Ellie Glantz (CCC)
Carolyn Greve (CCC)
Rachel Hotte (ES)
Pein-Pein Huang (CSO)
Eileen Johnson (CSO)
Caroline Johnston (ES)
Grace Mann (CSO)
Janessa Mann (CCC)
Jessica McClay (CCC)
Andi Murphy (CSO)
Reba Sigler (ES)
Topp Tolson (ES)
Caren Weinstein (ES)
Diana Zahab (ES)
Mary Zborowski (ES)
Tenor
Gary Boyd (CSO)
Cameron Climie (CCC)
Christian Damus (CCC)
Dorian Gerdes (CSO)
Louis Jacques (CCC)
Ross Jewell (CSO)
Mann Karl (CSO)
Philip Klaassen (ES)
David Lafranchise (ES)
Grayson Nesbitt (ES)
Demetry Prezelj (ES)
Aaron Shenkman (CSO)
Aidan Shenkman (CSO)
Bass
Wallace Beaton (CSO)
Mike Bulthuis (CSO)
Phillip Burness (CCC)
Grant Cameron (ES)
Erik de Vries (ES)
Mark Dumbrique (CSO)
Alain Franchomme (ES)
Andrew Hodgson (CSO)
Greg Huyer (CSO)
Björn Johansson (CSO)
Nathan Maclean-Max (CCC)
Christopher Mallory (CCC)
Kevin Marimbu (ES)
J.P. McElhone (CSO)
Ronan Pouliquen (ES)
Peter Reilly-Roe (CSO)
Stephen Slessor (ES)
Madox Terrell (CCC)
Mike Vanier (CSO)
Paul Whiteley (CCC)
John Young (CSO)
Repertoire
Messiah, HWV 56
Probably Handel’s most famous work, Messiah (1741) is the only composition of its time to be performed continuously since its premiere in Dublin on April 12, 1742. The remarkable frequency of its performance was due in part to the accessibility of the score (which was published in 1767), and its enduring popularity owes much to the unique qualities of its text and the ways Handel set it to music.
Messiah is an oratorio—a semi-dramatic genre akin to opera but on a religious topic. Like an opera, an oratorio may have a narrative plot with characters, and unfold with operatic elements such as recitatives, arias, and choruses. However, unlike an opera, it’s performed in concert form—that is, without scenery, costumes, and acting (though action would be implied). In Italy during the first half of the 18th century, oratorios were substitutes for opera during Lent, a solemn season during the Christian liturgical calendar when one had to abstain from opera among other worldly activities. Messiah is, notably, a certain kind of concert oratorio that Handel had developed in England, as an alternative to Italian opera, which, by mid-century, was falling out of favour and fashion with audiences there. After its premiere, he introduced Messiah to London theatres beginning in 1743. Initially, the oratorio’s sacred subject appearing in a secular context provoked controversy but later, shifts in circumstance and audience tastes eventually made this a non-issue. In subsequent revivals, Handel always scheduled performances of it at the end of the theatre season, within a couple of weeks before Easter. Today, Messiah is usually performed around Christmas.
Messiah tells the story of God’s redemption of mankind through Christ the Saviour. Charles Jennens, a friend of the composer’s, created the libretto by selecting and adapting verses from the Old and New Testaments in the Authorized Version of the Bible. The verses are grouped so the drama unfolds in three main parts: Part One presents the prophecies about the Messiah’s coming, and their fulfillment in his birth; Part Two follows the passion story of Christ, his crucifixion, death, and resurrection, the rejection of Christ, and God’s ultimate victory; Part Three is a meditation on what is accomplished through Christ’s victory—the promise of eternal life and triumph over death. While the story has clear religious significance, Jennens avoids a dogmatic interpretation. As a result, Messiah’s narrative, rich in complex human themes and emotions, can be appreciated by anyone, regardless of belief or creed.
Handel’s Messiah is unique to the oratorio genre because its story is presented, not through the personification of characters, but rather, in a descriptive format by the voices of the four soloists and chorus. The text thus becomes something to be contemplated, enhanced by the composer’s deft use of recitative, aria, and chorus, to infuse variety and drama. In the recitatives, there’s a notable distinction between those accompanied by continuo (i.e. keyboard and cello) versus those accompanied by orchestra (“accompagnato”). While the former serve to introduce new topics, the latter drive the narrative forward in key moments, for example, “And lo, the angel of the Lord came upon them” (Part One), “Thy rebuke hath broken His heart” (Part Two), and “Behold, I tell you a mystery” (Part Three). For the ensuing airs (or arias) during which matters are more deeply reflected upon, Handel uses a mixture of forms. He had originally planned four arias to be set in the elaborate Baroque da capo (ABA) form but only the one for alto, “He was despised”, was not shortened before the first performance. This aria carries deep emotional weight, setting the stage for the dramatic arc of Part Two that ultimately culminates in the glorious “Hallelujah” chorus.
Regarding the choruses, shifting musical textures—from unison declarations to layered counterpoint to majestic chordal statements—enliven these commentaries to powerful effect. The aforementioned “Hallelujah” chorus is a particularly brilliant example, incorporating monophonic (“King of Kings”), homophonic (the opening “Hallelujah”), and polyphonic (“And he shall reign for ever and ever”) textures. Listen also to how it goes from low and quiet on “The kingdom of this world is become” to suddenly loud on “the Kingdom of the Lord, and of his Christ”, on a similar motive but in a higher register, as if radiant—a musical representation of the transformation described in the text. In the final “Amen” chorus, Handel inventively contrasts homophonic and polyphonic textures as well as vocal and orchestral timbres to bring the oratorio to a magnificent close.
Program note by Hannah Chan-Hartley, PhD
Artists
Greek conductor George Petrou enjoyed a successful career as a concert pianist before gradually turning to conducting. He now has a flourishing international career and is currently considered as one of the world’s leading Handel specialists. From 2022, he will be the Artistic Director of the Internationale Händel-Festspiele Göttingen. He regularly collaborates with renowned orchestras in a very wide repertoire, ranging from baroque to contemporary music. He is the Artistic Director of the renowned Athens-based orchestra Armonia Atenea, which tours and records extensively, performing on both period and modern instruments. This evening’s concert marks his debut leading the NAC Orchestra.
George Petrou is a very active opera conductor with an emphasis on historically informed practices, not only in baroque music but also in later repertoire. He is a regular guest of major opera houses and has lately developed an interest in staging, having signed several successful productions of musical theatre and opera.
George Petrou has released many recordings on the Deutsche Grammophon, Decca and MDG labels. His recording of Handel’s Tamerlano for MDG received the prestigious ECHO Klassik award in 2008, and Handel’s Ottone, released by Decca, was nominated for a GRAMMY®. The French government awarded him the title of “Chevalier de l’ordre des Arts et des Lettres.”
Recognized for her unique artistic curiosity in world-class performances spanning the music of Monteverdi and Hasse through to György Ligeti and George Benjamin, Lauren Snouffer is celebrated as one of the most versatile and respected sopranos on the international stage.
Concert highlights this season include Bernstein’s Candide with the Seoul Philharmonic Orchestra, a program of Haydn and Mozart with Bernard Labadie and the Orchestra of St. Luke’s at Carnegie Hall, Messiah with the Cleveland Orchestra and New York Philharmonic, and the present debut with the NAC Orchestra. Lauren Snouffer’s schedule has yielded marvelous collaborations with many of the world’s most distinguished conductors and orchestras including performances with Franz Welser-Möst and the Cleveland Orchestra, Alan Gilbert and the New York Philharmonic, Cristian Măcelaru and the Rotterdam Philharmonic, Krzysztof Urbański and the Indianapolis Symphony Orchestra, Markus Stenz and the Baltimore Symphony Orchestra, and Marin Alsop and the Orquestra Sinfônica do Estado de São Paulo.
An impactful discography includes Hasse’s Siroe and Handel’s Ottone with George Petrou for Decca, Gottschalk’s Requiem for the Living with Vladimir Lande on Novona Records, Grantham’s La canción desesperada conducted by Craig Hella Johnson on Harmonia Mundi, and Feldman’s The Rothko Chapel with Steven Schick for ECM.
Canadian-Korean countertenor David DQ Lee is fast establishing an enviable reputation among countertenors of his generation. He has won prizes at many international music competitions including the Francisco Viñas Competition in Spain, George London Competition in New York City, Musica Sacra International Competition in Italy, Queen Elisabeth Competition in Belgium and Metropolitan Opera National Council Auditions.
With repertoire ranging from Baroque to contemporary and jazz to New Age, David DQ Lee has performed at La Scala in Milan, Komische Oper Berlin, Theater an der Wien, Teatro Real in Madrid, Liceu Opera in Barcelona, Chicago Opera, Semperoper in Dresden, Zurich Opera House and more. He has appeared at the Ravinia and Aspen music festivals, as well as the Beaune Baroque Opera Festival in France, to name just a few.
Having made his NAC debut in 2015 with the world premiere of Ana Sokolović’s Golden slumbers kiss your eyes…, David DQ Lee continues to sing this work with the NAC Orchestra. He can be heard performing it with the Orchestra on their New Worlds recording released by Analekta in 2018.
The Cantata Singers of Ottawa exist to perform choral music to the highest standards, to promote choral music in Ottawa, and to support Canadian musical talent by commissioning Canadian composers, engaging Canadian musicians, and offering scholarships to young Canadian singers.
Since 1964, the Cantata Singers have been bringing choral music to our nation’s capital and beyond, with hundreds of concerts and thousands of works from all over the world. The choir’s annual concert series presents innovative programs of a wide variety of classical and contemporary music.
In Season 61, the Cantata Singers are pleased to present:
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Saint Nicolas and A Ceremony of Carols, the community event envisioned by composer Benjamin Britten, with a professional soloist and musicians, children’s choruses, and a student orchestra.
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Ave Maria, a cappella concert of interpretations of the prayer Ave Maria from across the centuries and cultures, from plainsong to 21st-century composers.
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Splendours of Venice, a concert of Venetian music of the 17th century accompanied by the Ottawa Baroque Consort on period instruments.
The Capital Chamber Choir (CCC) is an auditioned ensemble of experienced choral singers from the National Capital Region. The choir and Artistic Director, Jamie Loback, are committed to bringing a diverse range of choral music—particularly modern, Canadian, and local works—to audiences through high-calibre and engaging performances. Founded in 2009 by Dr. Sara Brooks, the choir is a true collaboration, emphasizing the importance of collegiality in generating an integrated choral sound. The CCC is a volunteer-led organization that draws executive board and committee members from within the ensemble.
Each season, the CCC presents a concert series in addition to undertaking collaborative projects with other musicians. The choir has collaborated with notable ensembles, including the National Arts Centre Orchestra, the Thirteen Strings Chamber Orchestra, the Elmer Iseler Singers, and the Canadian Chamber Choir and hosted masterclasses or performances with composers, including John Rutter, Morten Lauridsen, Ola Gjeilo, and Ēriks Ešenvalds. The CCC released its all-Canadian debut album, The Delight of Paradise, in April 2017. In 2018, the choir performed a Spotlight concert in St. John’s, Newfoundland, as part of the Podium Choral Conference and Festival. The CCC won second prize in the Mixed-Voice Adult Choirs category of the National Competition for Canadian Amateur Choirs in 2019 and was invited to perform at Rideau Hall for recipients of the Order of Canada.
Though the COVID-19 pandemic halted live performances in 2020 and 2021, the CCC took advantage of the break to record two video sessions on YouTube. The choir re-emerged on stage in fall 2021 and has been building up to consistent seasons since! The CCC looks forward to its 2024–2025 season program, including innovative works on the National Arts Centre stage, exploring soundscapes with a local connection, a revival concert, and celebrating our 15th anniversary!
Formed in 1992 for a live broadcast marking 50 years of Radio Canada International, Ewashko Singers has developed into one of the most flexible vocal ensembles in the National Capital Region.
From Beethoven, Mahler, and Verdi to Richard Rodgers and Howard Shore, they skillfully perform music across a wide range of genres and languages. Under the leadership of Artistic Director Laurence Ewashko, Ewashko Singers regularly highlights Canadian composers and showcases young Canadian talent. In addition to their own concerts, they often collaborate with other local choirs and music ensembles. Recent highlights with the National Arts Centre Orchestra include the Juno Award–winning live recording of Ana Sokolović’s Golden slumbers kiss your eyes, and Harry Somers’s opera Louis Riel as part of Canada 150 celebrations.
Former conductor of the Vienna Boys’ Choir and Cantata Singers of Ottawa, Laurence Ewashko celebrates his 35th season of choral activity in the National Capital Region. As a choral clinician, vocal coach and adjudicator, he makes a significant contribution to the quality and appreciation of vocal music in Canada and abroad. Laurence has prepared choruses for many prestigious conductors, as he regularly does at the National Arts Centre.
A Full Professor of Choral Studies at the University of Ottawa, he conducts the School of Music’s two choirs. Laurence is a recipient of the prestigious Leslie Bell Prize for Choral Conducting and numerous awards from the Canada Council of the Arts. He is the founding conductor of Ewashko Singers which was established in 1992.
Tobi Hunt McCoy is enjoying another year as season Stage Manager with the National Arts Centre Orchestra. In past seasons, she stage-managed Mendelssohn’s A Midsummer Night’s Dream with Christopher Plummer in 2001 and Colm Feore in 2014. She co-produced the 1940s Pops show On the Air with Jack Everly for the Edmonton Symphony Orchestra, a show they co-produced in 2007 for the NAC Orchestra.
In 2018, McCoy made her Southam Hall acting debut in the role of Stage Manager in the Magic Circle Mime Co.’s production of Orchestra from Planet X. Additional professional duties have included aiding Susanna and the Countess in schooling the Count and Figaro on the finer points of marital love during The Marriage of Figaro, keeping her eyes open (for the first time ever) during the flying monkey scene in The Wizard of Oz, mistakenly asking Patrick Watson for proof of identity backstage, holding her breath while marvelling at the athletic ability of the cast during Cirque Goes Broadway, continuing to implement feedback on her British-Columbian French with the choruses of Ottawa, and cheering on Luke and Princess Leia with Charlie Ross, Émilie Fournier, and Eric Osner during the Star Wars Pops concert.
In her spare time, McCoy is the Head of Arts, Drama, English, and Library at Lisgar Collegiate Institute.
International Alliance of Theatrical Stage Employees