I booked the tickets a while ago. I had only been to the Royal Albert Hall once before, to see Human League. (Look, when I moved to London, it was all studying for CIPFA, then being on the Council. No social life, me).
And then, the realisation that, in effect, it clashed with England World Champs against the New Zealand Bar-Bars. Then relief that The Messiah nor most of his followers would be playing.
I knew the way to the Albert Hall was via the long tunnel from South Ken tube. shame the long tunnel was closed was due to flooding. (I ♥ London). Still, we got there just before the Doors Open time of 7.15pm. Well, it said that on the tickets. The previous show - Carols - had clearly indulged in too many encores. So it was quarter to eight when we got to near our seats (note to self - the circle in the RAH is way too high). The queue at the bar was impossible, obviously the queue in the Ladies was worse. Still, we got to our seats. Way too high. Mind you, what a fantastic view of the mise en scene - a choir of 500 voices, and a packed amphitheatre, luxurious in the splendour of the Victorian over-design. The orchestra were tiny dots in the disappearing distance. It was too far to hear each instrument articulating itself. We were in front of, and behind, couples which were clearly (like us) girlfriend taking boyfriend for a new experience. Unlike us, both couples decided to talk. The ones behind were of the "Oh not a lot's going on with this quiet music let's discuss what's coming up next." Grrrrrrrrrr.
Oh, and how many coughs does it take to fill the Albert Hall.
Factual stuff: Brian Wright conducted the Royal Philharmonic Orchestra; SATB were Rita Cullis, Jean Rigby, Timothy Robinson and Mark Stone. The choirs were Goldsmiths Choral Union, Highgate Choral Society and the English Concert Chorus.
I enjoyed it. Not tremendously, but IMO it is impossible to sit through The Messiah without getting repeated goose pimples and shivers of ecstasy. I looked forward with eagerness to my favourite bits by each of the soloists. Jean Rigby disappointed in O Thou That Tellest, Timothy Robinson was reasonable in Comfort Ye My People/Every Valley Shall Be Exalted and Rita Cullis equally good in I Know that My Redeemer Liveth, and But Thou Didst Not Leave His Soul In Hell. I was nervous about Why Do The Nations? and The Trumpet Shall Sound because I do so love these - I have a splendid tape playing right now which has Gwynne Howell singing in a wonderfully powerful bass way. So I was very pleased to hear Mark Stone exceed my expectations and emulate my hopes.
The combined chorus sang with vigour and passion; from our seats were probably the highlight of the evening. The organ was used, but sparingly. I have to say I am mighty impressed by its rumbling vibration, even though it was only used as part of the orchestra. I would really like to hear it opened full throttle.
I can't remember when I first heard The Messiah. I know it is by far the most outstanding work of the English Choral Tradition, and so accessible to everybody - even if you are not religious in a traditional sense, it combines some truly amazing music with gorgeous poetry.
A quick google on the US/International - as opposed to UK - flavour brings us
The most striking thing about The Messiah is its musicality. It is a string of magnificent musical offerings exploring the depths of despair (For behold, darkness shall cover the earth), joy (For unto us a child is born), quiet contemplation (the Pastoral Symphony interlude) and of course the energy and exuberance of the Hallelujah chorus.from Good Music Guide which also says
Messiah was written for the masses and has remained popular ever since. Except, ironically, in England, where many thought it blasphemous that someone (a German no less) could plunder the bible and set it to music for popular consumption. It was forbidden to be performed in Westminster Abbey even as late as the nineteenth century.
Also a A brief history
And here is a version on Amazon featuring the brother of someone I was at school with.
So, for my Definitive Collection I will say The Messiah as a whole, but probably if I have to select one it's Kathleen Ferrier singing O thou that tellest good tidings to Zion.
