Uwe Grodd.
Soprano shines in composer’s soaring masterpiece despite odd sonic burps.
Uwe Grodd chose his words carefully, introducing Auckland Choral's Monday Messiah.
The conductor urged us to remember Handel's 23-day vigil writing this oratorio, combining the best elements of all his other music to create a "potent mix that binds us together as only a great masterwork can, regardless of race,
religion or background". Last year, Handel's score was proudly given to us without cuts, but tonight there were nips and tucks. The losses were telling, from the brief choral burst of Let all the angels of God worship Him to the graceful conciliation of the air, If God be for us.
Soprano Madeleine Pierard commanded the highest admiration from her first recitatives, with her unfailingly incisive phrasing and steadfast intonation. Rejoice greatly, O daughter of Zion dispensed joy at a clip that would have had Handel's toes tapping, with some daring decorations. Later, the singer soared effortlessly to a top B flat while embellishing He shall feed His flock.
Telltale signs of unfocused tone emerged during Henry Choo's first recitative; by the brief Behold, and see if there be any sorrow, the Australian tenor was audibly ill-at-ease.
