Repertoire
Messiah
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. When performed in full, as it will be in this NACO 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 motif 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 notes by Hannah Chan-Hartley, PhD
Artists
GRAMMY®-winning conductor Jeannette Sorrell is recognized internationally as one of today’s most compelling interpreters of Baroque and Classical repertoire. She is the subject of the 2019 documentary by Academy Award-winning director Allan Miller Playing with Fire.
Sorrell studied conducting at the Aspen and the Tanglewood music festivals under Leonard Bernstein and Roger Norrington and harpsichord with Gustav Leonhardt in Amsterdam. She won First Prize in the Spivey International Harpsichord Competition, competing against over 70 harpsichordists from Europe, Israel, the United States, and the Soviet Union.
She is the founder of Apollo’s Fire and has led the renowned ensemble as conductor and harpsichord soloist at London’s BBC Proms, Carnegie Hall, Madrid’s Royal Theatre, and London’s Wigmore Hall as well as the Tanglewood, Ravinia, and Boston Early Music festivals, among others. Sorrell and Apollo’s Fire have released 26 commercial CDs, including 8 bestsellers on the Billboard classical chart and a 2019 GRAMMY® winner. Her recordings include the complete Brandenburg Concerti, Bach’s St. John Passion, Handel’s Messiah, and the Monteverdi Vespers.
In demand as a guest conductor with symphony orchestras and period ensembles alike, Sorrell appears this season with the Seattle Symphony, the Philadelphia Orchestra, and the Orquesta Sinfónica de Castilla y León. She has repeatedly conducted the Pittsburgh Symphony, St. Paul Chamber Orchestra, Utah Symphony, and New World Symphony, and led the National Symphony at the Kennedy Center, the Los Angeles Chamber Orchestra, Seattle Symphony, Opera St. Louis with the St. Louis Symphony, Philharmonia Baroque, the Florida Orchestra, Calgary Philharmonic, North Carolina Symphony, and the Royal Northern Sinfonia (UK), among others. Sorrell has attracted national attention and awards for creative programming, using contextual and dramatic elements. She has received an honorary doctorate from Case Western University and an award from the American Musicological Society.
Soprano Sonya Headlam enjoys a vibrant career performing music that spans from the Baroque period to the 21st century. She opened the 2022–23 season with several notable solo debuts, including Handel's Messiah with the Philadelphia Orchestra; Mozart and Bologne with Apollo's Fire at Severance Hall; Beethoven's Symphony no. 9 with the North Carolina Symphony; Bach's Mass in B Minor with the Grand Rapids Symphony; and Mozart's Exsultate Jubilate with the New World Symphony, a concert that was included in the South Florida Classical Review’s "Top Ten Performances of 2022." Upcoming highlights for the 2023-24 season include solo debuts with the New York Philharmonic, the Indianapolis Symphony Orchestra, and the Akron Symphony Orchestra.
Sonya delights in collaborating with contemporary composers on projects like Sung Jin Hong's Kennst du das Land, a piece she commissioned and performed in 2020; Tyshawn Sorey’s Monochromatic Light (afterlight), which was directed by Peter Sellars and performed at the Park Avenue Armory with the Choir of Trinity Wall Street; Yaz Lancaster’s OUROBOROS produced by Beth Morrison Projects; and Julia Wolfe's Steel Hammer, which was filmed for the Cal Performances at Home series and performed in 2022 at Carnegie Hall with the Bang on a Can All-Stars.
As a recitalist, Sonya has an affinity for art songs from the romantic period and is equally committed to introducing fresh musical idioms and little-known composers to audiences. Born of Jamaican parentage, she champions the music of her heritage, and she regularly performs and lectures on the life and music of the 18th-century writer and composer Ignatius Sancho.
On the opera stage, Sonya’s favorite roles include Fiordiligi in Mozart’s Così fan tutte and Musetta in Puccini’s La bohème.
Sonya holds a Doctor of Musical Arts degree from Rutgers University's Mason Gross School of the Arts, as well as bachelor's and master's degrees in music from Miami University of Ohio.
Lauded for his luminous projection, lyrical sensitivity, and brilliant coloratura, American-Canadian tenor Lawrence Wiliford is in high demand in concert, opera, and recital repertoire. In 2022–23, he joins both the Houston Symphony and National Arts Centre Orchestra for Messiah, returns to Early Music Vancouver for selections by Schütz, and performs Johann Sebastian Bach’s B minor Mass with the Grand Philharmonic Choir. In 2021–22, he appeared in Beethoven’s Symphony No. 9 with the Vancouver Symphony Orchestra, Mozart's Requiem with the Calgary Philharmonic, and Britten’s Serenade for Tenor, Horn, and Strings with the Hamilton Philharmonic Orchestra.
Lawrence Wiliford’s concert engagements encompass the major symphony orchestras and early music groups in the US and Canada. Additional appearances of note include Handel’s Messiah with the Toronto Symphony Orchestra, Detroit Symphony Orchestra, National Symphony Orchestra, Naples Philharmonic, Louisiana Philharmonic, Philharmonia Baroque Orchestra, Edmonton Symphony Orchestra, and Tafelmusik Baroque Orchestra. With the National Arts Centre Orchestra, he has previously sung in J.S. Bach’s Mass in B minor and Christmas Oratorio, Mozart's Requiem, and Haydn's Lord Nelson Mass.
His recorded projects appear on several labels and include a GRAMMY-nominated and JUNO Award–winning recording of music by Vaughan Williams with the Toronto Symphony Orchestra and Peter Oundjian (Chandos); J.S. Bach’s St. John Passion under the direction of Alex Weimann (ATMA Classique); a program of late works for tenor and harp by Benjamin Britten (ATMA Classique); and sacred songs by Edmund Rubbra, Ralph Vaughan Williams, and Gustav Holst (Stone Records). He is also a featured soloist on the 2020 JUNO Award–nominated recording of Zachary Wadsworth’s oratorio When There is Peace by Chor Leoni Men’s Choir. In addition to his performing schedule, Lawrence Wiliford is co-artistic director of the Canadian Art Song Project.
The Cantata Singers of Ottawa (CSO) is well known regionally and across Canada. Founded in 1964, this choir of approximately 40 voices has distinguished itself in performance of music of many styles and musical periods, from early music to minimalism, both a capella and with orchestras and small ensembles.
The choir aspires to perform choral music to the highest standards, promotes choral music in Ottawa, and supports Canadian musical talent by commissioning Canadian composers, engaging Canadian musicians, and offering scholarships to young Canadian singers. Under Artistic Director Andrew McAnerney, CSO presents an annual concert series, with programs spanning a wide-ranging repertoire both in time and style. In every season, the choir includes works composed by women and Canadians.
CSO has been an invited guest artist almost since its formation. With the exception of the COVID period, it has performed annually with the National Arts Centre Orchestra (NACO) and under the baton of every NACO artistic director since the opening of the NAC in 1969. In addition, the choir has sung NACO concerts led by other internationally renowned guest conductors. CSO performed on NACO’s 2019 JUNO-nominated recording New Worlds, singing Ana Sokolović’s composition Golden slumbers kiss your eyes.
CSO has sung in major Canadian music festivals such as Festival de Lanaudière and Festival of the Sound and has partnered with well-known Canadian choirs, such as Pro Coro Canada of Edmonton, the Vancouver Chamber Choir, and St. Lawrence Choir to present joint concerts. Thanks to numerous CBC and Radio Canada broadcasts, the choir is well known across Canada.
The Capital Chamber Choir is an auditioned ensemble of advanced singers from the National Capital Region. The choir and Artistic Director, Jamie Loback, are committed to bringing a diverse range of choral music—in particular, modern, Canadian, and local works—to audiences through high-caliber 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.
For the past 10 years, Artistic Director Jamie Loback has guided the choir through increasingly ambitious seasons and projects. He holds a Master of Music degree from the University of Ottawa and is a sought-after conductor and music director for several organizations in the city. He is dedicated to fostering inspiration, enthusiasm, and creativity in the next generation of choral musicians, and is a passionate advocate for contemporary choral music.
Each season, CCC presents its own concert series in addition to undertaking collaborative projects with other musicians. The choir has collaborated with notable ensembles including the National Arts Centre Orchestra, Thirteen Strings Chamber Orchestra, Elmer Iseler Singers, and Canadian Chamber Choir and has hosted masterclasses or performances with composers including John Rutter, Morten Lauridsen, Ola Gjeilo, and Ēriks Ešenvalds.
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 & Festival. 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 put a halt to live performances in 2020 and 2021, CCC took advantage of the break to record two series of video sessions on YouTube. The choir re-emerged on stage in Fall 2021 looking forward to a full season programme including Canadian premieres of innovative international works and a return to the NAC stage.
Since its debut in 1969, the National Arts Centre (NAC) Orchestra has been praised for the passion and clarity of its performances, its visionary educational programs, and its prominent role in nurturing Canadian creativity. Under the leadership of Music Director Alexander Shelley, the NAC Orchestra reflects the fabric and values of Canada, reaching and representing the diverse communities we live in with daring programming, powerful storytelling, inspiring artistry, and innovative partnerships.
Alexander Shelley began his tenure as Music Director in 2015, following Pinchas Zukerman’s 16 seasons at the helm. Principal Associate Conductor of the Royal Philharmonic Orchestra, and former Chief Conductor of the Nuremberg Symphony Orchestra (2009–2017), he has been in demand around the world, conducting the Rotterdam Philharmonic, DSO Berlin, Leipzig Gewandhaus, and Stockholm Philharmonic, among others, and maintains a regular relationship with the Deutsche Kammerphilharmonie and the German National Youth Orchestra.
Each season, the NAC Orchestra features world-class artists such as the newly appointed Artist-in-Residence James Ehnes, Angela Hewitt, Joshua Bell, Xian Zhang, Gabriela Montero, Stewart Goodyear, Jan Lisiecki, and Principal Guest Conductor John Storgårds. As one of the most accessible, inclusive, and collaborative orchestras in the world, the NAC Orchestra uses music as a universal language to communicate the deepest of human emotions and connect people through shared experiences.
- Official Car of the NAC Orchestra
