New gospel ‘Messiah’ breaks mold of classical fare

In this holiday season of traditional entertainment, an interesting version of a beloved classical oratorio elbows its way into the yearly lineup. Music Director Marin Alsop and the Baltimore Symphony Orchestra, together with the Baltimore City College Choir, present the soulful interpretation “Too Hot to Handel: The Gospel Messiah” Dec. 10 at the Music Center at Strathmore.

“If you’re really pretty religious about your Handel Messiah in its original form, maybe don’t come to this,” Alsop said.

No disrespect is intended here. The piece, which premiered in 1992 at New York’s Avery Fischer Hall, quite simply offers audiences a fresh twist on a familiar holiday classic.

In collaboration with Gary Anderson and “To Hot to Handel” co-arranger, Bob Christianson, Alsop created a revised version of “Messiah” that broke the traditional bounds of classical music.

“We started talking about this idea of re-envisioning Handel’s work, such that the DNA of the piece remained the same — the melodies, harmonies, structure and text,” she said. “However it is all treated differently.”

Alsop explains how the new version uses completely different instrumentation, expanding the orchestra to include, in her words “a full blown rhythm section,” of

gospel piano, bass, drums and a Hammond B-3 jazz organ with Christianson himself at the keyboards.

“It becomes an active listening experience [for the audience] when you’re allowed to stand up or clap your hands,” Alsop continued.

For this production, the chorus, which is the backbone of “Messiah”, is the Baltimore City College Choir under the direction of Linda Hall.

“The Baltimore City College Choir has performed with the BSO in the past and the collaboration is always electric,” BSO spokesman Jeff Counts said. “Under Linda Hall’s inspiring leadership, the choir performs with technical precision, as well as energy and enthusiasm.”