Could Handel ever have imagined that a composition of his, which debuted in Dublin in 1742, would thereafter and worldwide be one of the most significant choral pieces performed during the Christmas season? “It’s like the marriage of all that’s good and wonderful in the world coming together when we hear the ‘Messiah,’ ” said the National Philharmonic Chorale’s artistic director, Stan Engebretson, who will conduct 170 voices along with the National Philharmonic Orchestra in what has become a ubiquitous annual tradition.
On Sunday in the great hall of the Music Center at Strathmore, this perennial message of peace, hope and joy will, for many, officially proclaim the holiday season open.
| Onstage |
| Handel’s ‘Messiah’ |
| Where: The Music Center at Strathmore, 5301 Tuckerman Lane, North Bethesda |
| When: 3 p.m. Sunday |
| Info: $32 to $79, ages 7 to 17 free; 301-581-5100; strathmore.org |
Among the most popular works in Western choral cannon, Handel’s “Messiah” chronicles specific events in the life of Christ. The first part recalls Advent and Christmas, while the second section addresses Christ’s passion, resurrection, ascension and commitment to spreading the Christian message. The third and final part of “Messiah” is based on events recorded in the Revelation of St. John.
“We do the shortened version, the same one we perform annually, which is all of Part 1, sometimes called the ‘Christmas Part,’ ” Engebretson explained. “After the intermission, we do selections from Parts 2 and 3. The whole [program] is a little more concise yet still covers all the really wonderful choruses that people have come to know about.”
He naturally refers to “The Trumpet Shall Sound,” “And the Glory of the Lord,” and perhaps the most famous selection, “Hallelujah Chorus.”
“I’m very excited about our solo quartet, where [the music] gives them a chance to shine,” he continued, referring to the voices of the program’s guest artists, soprano Jennifer Casey Cabot, mezzo-soprano Kendall Gladen, tenor Matthew Smith and bass Kevin Deas.
“For many people, and many singers, too, ‘Messiah’ is such an iconic part of the whole celebratory ritual of the holidays,” said Nancy Coleman, a chorus member since 1987. “It just never gets old because it is such a work of genius, such beautiful layering of melodies.”
With the key word here being “celebratory,” the orchestra and chorus present the piece as light and bright in the Baroque style; not heavy, but rather, on the mark and joyous.
“Each year it’s a matter of coming back to a friend,” Engebretson noted. “Each year you find new inspiration; new details to enjoy and savor.”
