BY STEPHANIE ESLAKE
Though it took him just a few weeks to compose, Handel’s 1741 oratorio Messiah embedded itself in the hearts of concertgoers throughout every century that followed.
This year, we’ll no doubt hear the Messiah in concert halls across Australia for the traditional Christmas performances. But before that time, the City Recital Hall is hosting a particularly special rendition of this beloved work — one that unites a special choir while helping women and children in need.
The Sydney Chamber Choir has chosen Messiah as a way to launch its 2020 concert season – celebrating 45 years filled with its music-making. And it’s doing so with a community conscience, teaming up with the venue to sell concertgoers fresh meals provided by Two Good: a charity that supports women and children. It harks back to Handel’s own sense of giving as a long-time supporter of the Foundling Hospital in London.
In this Messiah, SCC will join with a number of soloists – one of which is alto Stephanie Dillon. Here’s what Stephanie has to say about the event.
Hi Stephanie! Okay – I’m going to start with the obvious one. You’re performing Messiah this March, a few months after it does its traditional rounds during the Christmas festive season. Why do audiences want to hear this work again now?
Over time, the work has become a staple in Christmas repertoire, drawing large crowds of professional and amateur singers each Christmas to perform the oratorio. But as the libretto deals with the life and death of Jesus as a whole, it is ultimately timeless.
Handel’s Messiah was originally an Easter offering, with the first performance occurring during Lent in April 1742. A large portion of the Messiah text does focus on the Easter story – Christ’s death and resurrection – and only part one is about his birth and life: the ‘Christmas portion’.
As our performance will be during Lent, it will certainly be closer to that of the premiere.
People go crazy for this work. It’s one of the most popular choral pieces. Why do you think it’s stood the test of time, and people in the 21st Century still can’t get enough?
I think the obvious answer is because it really is one of the choral masterpieces we are lucky enough to hear or perform, over and over again, without getting sick of it.
Listeners and musicians alike have a particular affinity to the music, whether it is through performing the work over and over again in the chorus, or perhaps as a soloist. For some, it’s not Christmas or Easter without attending a performance of Handel’s Messiah.
Handel was one of the most celebrated composers of his day, during his lifetime. Many other composers that we think of as ‘greats’ only became famous after they died, such as Bach, Mozart, or Vivaldi. Handel was popular during his lifetime and this music has endured the centuries following his death. His music is practically of legendary status, and everyone will know something by Handel – probably from his Messiah – whether they realise it or not.
It really is a staple in the choral repertoire, and I imagine it will continue to stay that way for centuries to come.
Take us back to the 18th Century, for a moment. What’s a fun fact about this work?
The alto soloist for the first performance was actress Susannah Maria Cibber, who had fled London for Dublin to escape rumours after a scandalous affair. Legend has it that her performance of He was despised was so moving, an influential man stood up and proclaimed that all her sins would be forgotten, in front of everyone in the hall.
As the alto soloist, what do you find enjoyable about performing this work?
I’ve always loved singing Handel, and enjoy the challenges presented in his music, but also how accessible it is at the same time. Having studied and performed bits and pieces of the oratorio over the years, there is something incredibly rewarding in being able to perform Handel’s Messiah in full.
This is only my third Messiah – second as a soloist – and I am really enjoying getting stuck into the music, discovering new twists and turns, and experimenting with different ornamentation.
Like with anything, the more you study and practice, the deeper the association. I’m definitely exploring this, and can’t wait to perform it in a few weeks’ time.
Hallelujah is, of course, the most famous of the Messiah. What are one or two other hidden gems inside, which people might not know so well?
A few of my favourites are the slightly chaotic chorus All we like sheep; and soprano aria I know that my redeemer liveth, which is a moment of beauty and calm at the beginning of Part 3.
This is such a big year for SCC, being the 45th anniversary season. What does it mean to you to be able to perform as a soloist during such a significant year?
I’m honoured to have been asked to perform in the first concert in what is such an exciting year for SCC.
SCC is such an important part of the musical, especially choral, landscape in Sydney and is an organisation that is standing strong in a time where we need stability in the arts more than ever.
I hope to see SCC continue for many more years, and to be able to celebrate such significant landmarks for many more Australian institutions in the years to come.
What’s been the process of working with the other soloists in this major work?
I have been lucky enough to perform alongside two out of three other soloists for a Messiah before. When we put it all together at rehearsals […] the work will truly come to life and I’m very much looking forward to that process.
You’ll be performing Messiah at the City Recital Hall. From a singer’s perspective, what do you love about this venue?
I’ve performed at CRH a bit over the last few years but never as a soloist, so am looking forward seeing how this might be different when we get into rehearsals.
It’s always great performing in CRH, with a nice clean acoustic – great for voice.
For your concert, CRH is teaming up with Two Good to offer food to concertgoers who, in return, will be supporting women in Sydney’s refuges. Why is it important for the arts community to use opportunities like this concert as a way to help those in need?
It’s important to note that the first performance of Handel’s Messiah in Dublin was a charitable performance, raising money for men in a debtors’ prison. Handel had a strong connection to the poor and those in need, and conducted charity concerts for many years at London’s Foundling Hospital for abandoned infants and children. We can learn a lot from Handel, who gave a lot of his time and money to those in need.
I think the arts can often be viewed as an elite establishment, but really it couldn’t be further from the truth. It is astounding to think how profoundly the arts affects our everyday lives, and the part that it plays. So many people are engaged through the arts, through education, outreach, and more. It’s so important for us as artists to find more ways to do what we can to help those in need.
See Stephanie Dillon perform Handel’s Messiah with the Sydney Chamber Choir in the City Recital Hall, 6pm March 14.
Images supplied.
