De La Warr Pavilion, Bexhill, Saturday 6 May 017

Messiah in May? We have become accustomed to Christmas and Easter outings for Handel’s masterpiece so it was refreshing to encounter it at the start of summer. Moreover, we were in the more opulent acoustic of the De La Warr Pavilion rather than the ecclesiastical surroundings of St Augustine’s. All of the early presentations of Messiah were in theatres as the operatic nature of the composition was deemed far too irreligious for church performance, and Kenneth Roberts brought a dramatic intensity to his reading which helped keep the narrative moving rapidly.

The loss of the first eight rows also helped the impact of the performance, placing singers and musicians in the same room as the audience, with the soloists effectively in the centre of the space rather than isolated at the far end. Having heard many concerts here where the chorus was almost inaudible at the back of the stage this was a real advantage.

It also allowed for a greater dynamic range, with orchestral pps in the repeat section of the Overture and the Pastoral Symphony particularly effective in the hushed string playing. The lack of rehearsal time which plagues all performances these days was evident at the opening of Surely where Kenneth Roberts had to stamp his authority to get the tempi he needed and it was to the credit of all that they responded so rapidly and professionally.

Choral singing was crisp and responsive throughout, with clear articulation of the text and very tight rhythms. And He shall purify, Behold the Lamb of God and All we like sheep were particularly clear in attack and clarity of part singing.

The soloists were very exposed but given the quality of the singing this was never a problem. Andrew Mackenzie-Wicks is a dramatic tenor who combines fluid coloratura with a rich tonal palette. The contrast between Comfort ye and Thou shalt break them was thrilling. Peter Grevatt found a Georgian sense of conviction for The trumpet shall sound with Andy Gill in splendid form on solo trumpet.

Fae Evelyn brought beauty of tone to the soprano arias though as yet she has difficulty breathing through Handel’s long lines. Phillipa Thomas was a lighter voiced mezzo than we often hear in Handel but it was good to encounter a female voice here in an age dominated by counter-tenors. Her sensitivity carried well.

We are used today to technology and take it for granted. When it goes wrong everything stops, as happened just before For behold, darkness when all the lights went out, and returned to flash like distant lightning. Handel’s candlelit hall in Dublin would never have had that problem!

Bexhill Choral Society return to St Augustine’s on 7 October with works by Monteverdi, Vivaldi, Purcell and Albinoni.