Thursday November 30, 2017 | 7:30PM (Pre-concert talk at 6:45)
White Rock Baptist Church | Map
Pacific Baroque Orchestra; Alexander Weimann, music director; Vancouver Cantata Singers; Paula Kremer, artistic director; Yulia Van Doren, soprano; Krisztina Szabó, mezzo-soprano; Charles Daniels, tenor; Tyler Duncan, baritone
Join the PBO, Vancouver Cantata Singers and conductor Alexander Weimann for EMV’s very first presentation of Handel’s greatest known work in the intimate atmosphere of White Rock Baptist Church.
Supported by David McMurtry and Bruce Wright
1. Sinfonia in E minor
2. Comfort ye my people (tenor)
3. Ev’ry valley shall be exalted (tenor)
4. And the glory of the Lord (chorus)
5. Thus saith the Lord of Hosts (bass)
6. But who may abide the day of His coming (alto)
7. And He shall purify the sons of Levi (chorus)
8. Behold, a virgin shall conceive (alto)
9. O thou that tellest good tiding to Zion (alto)
10. For behold, darkness shall cover the earth (bass)
11. The people that walked in darkness (bass)
12. For unto us a Child is born (chorus)
13. Pifa in C major [Pastoral Symphony]
14. There were shepherds abiding in the field (soprano)
15. And lo, the angel of the Lord came upon them (soprano)
16. But lo, the angel of the Lord came upon them (Arioso) (soprano)
17. And the angel said unto them (soprano)
18. And suddenly there was with the angel a multitude (soprano)
19. Glory to God in the highest (chorus)
20. Rejoice greatly (soprano)
21. Then shall the eyes of the blind be open’d (alto)
22. He shall feed His flock like a shepherd (alto, soprano)
23. His yoke is easy, His burden is light (chorus)
24. Behold the Lamb of God (chorus)
25. He was despised and rejected (alto)
26. Surely, He hath borne our griefs and carried our sorrows (chorus)
27. And with His stripes we are healed (chorus)
28. All we like sheep (chorus)
29. All they that see Him, laugh Him to scorn (tenor)
30. He trusted in God that He would deliver Him
31. Thy rebuke hath broken His heart (tenor)
32. Behold, and see if there be any sorrow (tenor)
33. He was cut off out of the land of the living (tenor)
34. But Thou didst not leave His soul in hell (tenor)
35. Lift up your heads, O ye gates (chorus)
36. Unto which of the angels said He at any time (tenor)
37. Let all the angels of God worship Him (chorus)
38. Thou art gone up on high (alto)
39. The Lord gave the word; great was the company of the preachers (chorus)
40. How beautiful are the feet of them (alto)
41. Their sound is gone out into all the lands (chorus)
42. Why do the nations so furiously rage together (bass)
43. The Kings of the earth rise up (bass)
44. Let us break their bonds asunder (chorus)
45. He that dwelleth in heaven (tenor)
46. Thou shalt break them with a rod of iron (tenor)
47. Hallelujah (chorus)
48. I know that my Redeemer liveth (soprano)
49. Since by man came death (chorus)
50. Behold, I tell you a mystery (bass)
51. The trumpet shall sound (bass)
52. Then shall be brought to pass the saying (alto)
53. O death, where is thy sting? (alto, tenor)
54. But thanks to be to God (chorus)
55. If God be for us (soprano)
56. Worthy is the Lamb was slain (chorus)
57. Amen (chorus)
Handel says he will do nothing next Winter, but I hope to persuade him to set another Scripture Collection I have made for him, & perform it for his own Benefit in Passion Week. I hope he will lay out his whole Genius & Skill upon it, that the Composition may excel at his former Compositions, as the Subject excels every other Subject. The Subject is Messiah.
– Charles Jennens, from a letter to his friend Edward Holdsworth, dated July 10, 1741
When Charles Jennens presented his libretto for Messiah to his friend George Frideric Handel in 1741, it was in the hopes of convincing the composer that he should devote his efforts to writing oratorios rather than operas. This was not just because the two men had previously collaborated on the successful oratorio Saul (1738), but because Handel, the German-born composer who had enjoyed years of successes in delighting London audiences with his Italian operas, was succumbing to a tide of tastes that had finally turned against him. A few years before, both his opera company and his health had collapsed. While his health improved relatively quickly, the reception of his operas did not. His most recent operatic efforts had been so unsuccessful that he was seriously considering abandoning England altogether. The year 1741 proved to be pivotal for Handel. In February he gave his last performance of an Italian opera (Diadamia), and by September 14, he had quickly composed his sixth oratorio and most enduring masterpiece: Messiah.
It is staggering to contemplate that Handel’s composition of Messiah took only twenty-four days. This may indeed be evidence of an unusually profound inspiration on Handel’s part, but it is worth noting that this timeframe was fairly typical for the composer. Most of his operas and oratorios were written in similarly short, intense bursts, often during his limited “down time” between theatrical seasons. In the six weeks immediately after he composed Messiah, for example, he wrote Samson, another large-scale oratorio.
By November of 1741, Handel had arrived in Dublin in response to an invitation to give a series of performances there, and on April 13, 1742, Messiah was ready for its first public performance. It was so evident that this new work was going to be a huge draw that promoters encouraged ladies to refrain from wearing hoop-framed skirts and gentlemen were requested to come without their swords. Whether or not it was because their fashion accessories were left at home, the city’s brand new Great Music Hall in Fishamble Street, built to hold 600, packed in 700 audience members for the premiere of Handel’s new oratorio.
One year later, when Handel introduced London audiences to Messiah, the work was not universally praised. Many objected to the notion that a biblical text was being sullied by being performed in that hotbed of sinful subject matter and overwrought drama: the theatre. For others, the piece was not dramatic enough, since it had so many choruses and practically none of the characters and dialogue more common to opera. It was only when Handel began annual charity performances of the work at the Foundling Hospital in 1750 that its popularity began to take hold. By the time Handel died in 1759, Messiah had secured a place of honor in the Western musical canon that it still holds today.
Perhaps this enduring success is due not only to Handel’s musical genius, but also to Jennens’ unique libretto. Like most oratorios, the libretto utilizes sacred texts, in this case from both the Old and New Testament. Unlike most oratorios, there are hardly any instances of narrative (the angel’s proclamation of the birth of a savior in Part I is the only true exception) and no defined speaking characters (even Christ’s name is hardly mentioned until Part III). Instead of plot-driven action, Jennens presents a succession of dramatic scenes, scriptural passages and metaphorical references that allow the listener the opportunity to reflect upon the story rather than merely react to it.
Like an opera, the work is divided into three parts, or acts, each comprised of several scenes. Part I offers comforting prophecies of salvation, fiery proclamations of approaching judgment, and a jubilant accounting of Christ’s birth. Part II is the emotional core of the work, the longest in duration and scope, and certainly the most dramatic. A depiction of Christ’s passion, death, resurrection, and ascension into heaven would be substance enough, but this act goes even further, exploring the spread of the gospel and God’s ultimate victory through the triumph of Christ’s reign. Part III is one of affirmation and thanksgiving, and invites the listener to contemplate eternal life, the conquest of sin, and the final, joyous acclamation of the Messiah.
Handel’s genius and skill reassert themselves in the musical linking of these scenes, and through his setting of the text. Often, these links are accomplished through the repetition of musical figures. For example, the abrupt, angular, dotted rhythms played by the instrumentalists during the scourging of Jesus make their first appearance in Part II during the aria “He was despised,” but they continue through the chorus that immediately follows (“Surely, he hath borne our griefs”) and appear yet again when the passion narrative returns with the recitative, “All they that see Him, laugh Him to scorn.” Sometimes, the unity of ideas is underscored by similarities in tempo and affect, as in the end of Part II, when violent images of another sort are given similar treatment (“Why do the nations so furiously rage together”, “Thou shalt break them with a rod of iron”). In other parts of the piece, Handel favors not unity, but abrupt change. He adeptly alters key, tempo, and meter to serve similarly sudden changes in the text, as in the dramatic shifts between awed reverence and the refiner’s fire of “But who may abide the day of his coming” in Part I.
Perhaps the feature of Messiah that has contributed the most to its longevity is how Handel distributes the storytelling duties almost equally between soloists, chorus and orchestra. In effect, everyone on the stage has a starring role. And the music of all three of these forces is constantly fluid, shifting between a lyrical style that provides memorable melodies, and a declamatory style that expertly mimics speech patterns with rhythm and dynamics.
Although Messiah maintains its reputation as a monumental work—its grand form carefully sustained as it is performed again and again in the centuries since its composition—from the very beginning, it has been a work in flux. As in many of his other compositions, Handel made numerous changes to the piece for nearly all of its performances. Some of these changes were to accommodate the ranges or abilities of different singers and others seem to represent Handel’s ceaseless interest in fine-tuning the impact or accessibility of the piece as a whole. In the end, the fact that there is no definitive version of Messiah might be its most attractive quality. Perhaps more than with any other piece of its scale, audiences and performers alike are welcomed back to Messiah and invited to rediscover its music, its message and its methods of performance, making Messiah a musical experience that somehow manages to be as comforting and familiar as it is striking and wholly new.
Pacific Baroque Orchestra
The Pacific Baroque Orchestra (PBO) is recognized as one of Canada’s most exciting and innovative ensembles performing “early music for modern ears.” PBO brings the music of the past up to date by performing with cutting edge style and enthusiasm. Formed in 1990, the orchestra quickly established itself as a force in Vancouver’s burgeoning music scene with the ongoing support of Early Music Vancouver.
In 2009 PBO welcomed Alexander Weimann, one of the most sought-after ensemble directors, soloists, and chamber music partners of his generation, as Artistic Director. Weimann’s imaginative programming and expert leadership have drawn in many new concertgoers, and his creativity and engaging musicianship have carved out a unique and vital place in the cultural landscape of Vancouver.
PBO regularly joins forces with internationally celebrated Canadian guest artists, providing performance opportunities for Canadian musicians while exposing West Coast audiences to a spectacular variety of talent. The Orchestra has also toured B.C., the northern United States and across Canada as far as the East Coast. The musicians of the Pacific Baroque Orchestra have been at the core of many large-scale productions by Early Music Vancouver in recent years, including many summer festival performances led by Alexander Weimann.
Alexander Weimann, music director
Alexander Weimann is one of the most sought-after ensemble directors, soloists, and chamber music partners of his generation. After traveling the world with ensembles like Tragicomedia, Cantus Cölln, the Freiburger Barockorchester, the Gesualdo Consort and Tafelmusik, he now focuses on his activities as Artistic Director of the Pacific Baroque Orchestra in Vancouver, and as music director of Les Voix Baroques, Le Nouvel Opéra and Tempo Rubato.
Recently, he has conducted the Montreal-based baroque orchestra Ensemble Arion, Les Violons du Roy, and the Portland Baroque Orchestra; both the Orchestre Symphonique de Québec and the Montreal Symphony Orchestra have regularly featured him as a featured soloist. In the last years, he has repeatedly conducted the Victoria Symphony and Symphony Nova Scotia, most recently with Handel’s Messiah.
Alexander Weimann can be heard on some 100 CDs. He made his North American recording debut with the ensemble Tragicomedia on the CD Capritio (Harmonia Mundi USA), and won worldwide acclaim from both the public and critics for his 2001 release of Handel’s Gloria (ATMA Classique). Volume 1 of his recordings of the complete keyboard works by Alessandro Scarlatti appeared in May 2005. Critics around the world unanimously praised it, and in the following year it was nominated for an Opus Prize as the best Canadian early music recording. Recently, he has also released an Opus Award-winning CD of Handel oratorio arias with superstar soprano Karina Gauvin and his new Montreal-based ensemble Tempo Rubato, a recording of Bach’s St. John’s Passion, various albums with Les Voix Baroques of Buxtehude, Carissimi and Purcell, all with rave reviews. His latest album with Karina Gauvin and Arion Baroque Orchestra (Prima Donna) won a Juno Award in 2013, and a complete recording of Handel’s Orlando was released in the fall of 2013, with an exciting group of international star soloists and the Pacific Baroque Orchestra performing.
Alexander Weimann was born in 1965 in Munich, where he studied the organ, church music, musicology (with a summa cum laude thesis on Bach’s secco recitatives), theatre, medieval Latin, and jazz piano, supported by a variety of federal scholarships for the highly talented. In addition to his studies, he has attended numerous master classes in harpsichord and historical performance. To ground himself further in the roots of western music, he became intensely involved over the course of several years with Gregorian chant. Alexander Weimann has moved to the Vancouver area with his wife, 3 children and pets, and tries to spend as much time as possible in his garden and kitchen.
Vancouver Cantata Singers
Founded in 1957, the Vancouver Cantata Singers has become one of Canada’s preeminent, award-winning choral ensembles. The choir is known for its technical virtuosity, fine blend and exceptionally high performance standards encompassing 500 years of diverse choral repertoire.
VCS has been awarded the Canada Council’s top prize in choral singing, the Healey Willan Grand Prize, more than any other choir in the country. Led by artistic director and conductor Paula Kremer since 2013, VCS also commissions new works from critically-acclaimed composers, which have led to extremely successful and innovative collaborations with regional and international artists and ensembles.
Paula Kremer, artistic director
Educated at UBC and the Vancouver Academy of Music, mezzo- soprano Paula Kremer has studied voice with Marisa Gaetanne, Bruce Pullan, Phyllis Mailing, Lauren Wagner, and Laura Pudwell. Before becoming Artistic Director of VCS in the fall of 2013, Ms. Kremer was a professional member of the Vancouver Cantata Singers for eighteen years, and has sung extensively as a soloist.
Holding an ARCT in both piano and voice, she began teaching music privately in 1987, and in 1997 joined the faculty of Vancouver Community College’s School of Music where she teaches the program’s solfege courses, voice, and concert choir. Ms. Kremer has studied choral conducting at institutes around the world, including Eton, Westminster Choir College, Eastman School of Music, Sintra, and Oxford. She also conducts the Vancouver Bach Youth Choir and Sarabande.
Yulia Van Doren, soprano
Recognized by Opera Magazine as “A star-to-be” following her Lincoln Center debut, young Russian-American soprano Yulia Van Doren’s debut with the Toronto Symphony Orchestra was acclaimed as a “revelation… a ravishing lyric voice and an ease with vocal ornamentation that turned her into an enchanted songbird” (Toronto Star). For her last minute step-in with the Cleveland Orchestra, The Cleveland Plain Dealer praised Van Doren as an artist of “melting poignancy” and added, “To Van Doren, one could easily have listened for hours.”
A dedicated interpreter of repertoire off the beaten path, career highlights include creating the lead female role in the world premiere of Shostakovich’s Orango with the Los Angeles Philharmonic, directed by Peter Sellars and released on Deutsche Grammophon; two Grammy-nominated opera recordings with the Boston Early Music Festival; the modern revival of Monsigny’s opera Le roi et le fermier at Opera de Versailles, Lincoln Center and the Kennedy Center (recorded for Naxos); and a tour of Handel’s Orlando with Philharmonia Baroque Orchestra to the Mostly Mozart, Ravinia and Tanglewood festivals.
Highlights of Ms. Van Doren’s upcoming season include appearances with the Cincinnati and Baltimore Symphonies, the Cleveland Orchestra, and tours with Mark Morris Dance Group including performances of Handel’s Acis and Galatea and L’Allegro under conductor Nicholas McGegan.
Krisztina Szabó, mezzo-soprano
In the 2016-17 season, Krisztina Szabó will sing the title role in Rossini’s Cenerentola with Edmonton Opera, and will appear in concert with Tafelmusik (Toronto), Music of the Baroque (Chicago), Grand Philharmonic Choir (Kitchener-Waterloo) and Pax Christi Chorale (Toronto). She will also be a featured performer in Canadian Stage’s All But Gone, a production featuring short plays by Samuel Beckett.
In the 2015-16 season Krisztina Szabó sang the role of Judith in Bluebeard’s Castle (Colorado Music Festival), Thisbe in Pyramus and Thisbe (Canadian Opera Company). She appeared as soloist in Handel’s Messiah (Symphony Nova Scotia, Calgary Philharmonic), in concert with Bravissimo! at Roy Thomson Hall, with Soundstreams, with the Toronto Children’s Chorus, and with Talisker Players.
In 2015, she was nominated for 2 Dora Awards for her performances as The Woman in Erwartung with the COC and in Booster Shots with Tapestry Opera. Career highlights include The Woman in Death and Desire (Against the Grain Theatre), Donna Elvira in Don Giovanni, and Sesto in La clemenza di Tito (Vancouver Opera), Le Pèlerin in L’Amour de loin and Idamante in Idomeneo (COC), Komponist in Ariadne auf Naxos (Stadttheater Klagenfurt), Rosalind in The Mines of Sulphur (Wexford Festival Opera), Cherubino (Le nozze di Figaro) and Meg (Little Women)(Calgary Opera), Dorabella (Mostly Mozart Festival, NY), St. Matthew Passion (Brooklyn Academy of Music), Nerone in Agrippina (L’Opéra de Montréal), and Ruggiero in Alcina and Haydn’s Arianna a Naxos (Les Violons du Roy).
Charles Daniels, tenor
The tenor Charles Daniels’ repertoire extends 1150 years from the ninth century to the present day. Born in Salisbury, he received his musical training at King’s College, Cambridge, and the Royal College of Music in London where he studied under Edward Brooks.
He has made over ninety recordings as a soloist, the most recent Western Wind with the Taverner Choir & Players (Andrew Parrott) on Avie, winning the 2016 Gramophone Award for Early Music – further recordings include Evangelist St John Passion with Portland Baroque, Handel’s Messiah with the Gabrieli Consort for Deutsche Grammophon, Dowland Songs for EMI, Handel’s Alexander Balus with The King’s Consort for Hyperion, The Beggar’s Opera for Hyperion, Schütz’ Christmas Story for Deutsche Grammophon, Haydn’s St Cecilia Mass with the Gulbenkian Choir and Orchestra, Bach’s Easter Oratorio with the Taverner Consort for EMI, Airs de Cour with Catherine King and Jacob Heringman, Handel Occasional Songs with Emma Kirkby for SOMM records and more than twenty discs of Purcell’s music, mostly with The King’s Consort.
Operatic roles have included Le Dieu de Sommeil in Lully’s Atys for the Opéra de Paris and Purcell’s Fairy Queen in the Aix-en-Provence Festival. Concert engagements have included regular appearances at the BBC Promenade Concerts, the Edinburgh International Festival, London Handel Festival, Spitalfields Festival and appearances with The Sixteen, Academy of Ancient Music, The King’s Consort, English Concert and Gabrieli Consort. Engagements outside the UK include regular appearances throughout Canada where he works with Les Voix Baroques, Les Voix Humaines, Toronto Consort and Tafelmusik and appears regularly with Early Music Vancouver and at the Montreal Baroque Festival. Charles also works regularly with De Nederlandse Bach Vereniging (Netherlands Bach Society) and has made guest appearances withInstant Pluriel (Bach Profane Cantatas), Symphonieorchester des Bayerischen Rundfunks (Mass in B Minor), Netherlands Philharmonic with Sir Colin Davis (St Matthew Passion), Il Complesso Barocco (Dido & Aeneas, Guilty Night), Collegium Musicum Bergen (Messiah) and Warsaw Philharmonic (Wojciech Kilar’s Missa Pro Pace). Recent engagements include King Arthur with Tafelmusik in Toronto, Athalia with Kammerorchester Basel, L’Allegro, Il Penseroso ed il Moderato in St Gallen with Rudolf Lutz, a recording of St Matthew Passion with Choir & Orchester of the J.S. Bach Foundation, St John Passion in Wroclaw, Purcell concerts with Gabrieli Consort, Gli Amori d’Apollo e di Dafne for Toronto Consort, Biber Requiem with RIAS Kammerchor, Dido & Aeneas with The King’s Consort and a series of Bach concerts in The Netherlands with Musica Amphion. Recent engagements include Messiah in Japan with Bach Collegium Japan and St John Passion with Tafelmusik, Canada.
Career highlights have included Luigi Nono’s Canti di Vita e Amore (Edinburgh International Festival), Handel’s Esther (sung in Hebrew) in New York, Monteverdi Vespers with the Gabrieli Consort in Venice with Paul McCreesh, Handel’s Belshazzar at the Théâtre de Champs Elysées in Paris and Messiah at the Musikverein, Vienna with Harnoncourt.
Recent engagements included Dream of Gerontius in Wroclaw, a tour of L’Allegro, Il Penseroso ed il Moderato (J.S. Bach Stiftung) with Rudolf Lutz, Purcell at the Wigmore Hall (The King’s Consort), Vespers in Vancouver & Seattle, a series of Bach Christmas Concerts with NBV, Bach Secular Cantatas with Bach Collegium Japan, St Matthew Passion with NBV, Vespers with Toronto Consort, Schütz with Dresdner Kammerchor, Vespers with The King’s Consort at the Rheingau Festival, a semi-staged Fairy Queen with the AAM at the Barbican Hall, Mass in B Minor with the BBC Singers and Messiah in Australia with Melbourne Symphony and Queensland Symphony Orchestras.
Engagements in 2017 include a series of Purcell Programmes with Holland Baroque Society, Purcell at the Wigmore Hall (The King’s Consort), St Matthew Passion at The Sage, Gateshead and at King’s Place, St John Passion at Bath Abbey, Chandos Anthems at the London Handel Festival, Vespers with the Academy of Ancient Music, a series of concerts at Oregon Bach Festival and Bach Cantatas in St Gallen. Subsequent engagements include his return to Toronto for Mass in B Minor.
Tyler Duncan, baritone
Canadian baritone Tyler Duncan recently performed at the Metropolitan Opera as Prince Yamadori in Puccini’s Madam Butterfly. At the Spoleto Festival he debuted as Mr. Friendly in the 18th-century ballad opera Flora, returning the next season as the Speaker in Mozart’s The Magic Flute. Other appearances have included the role of the Journalist in Berg’s Lulu and Fiorello in Rossini’s Barber of Seville, both at the Metropolitan Opera, Raymondo in Handel’s Almira with the Boston Early Music Festival, Dandini in Rossini’s La cenerentola with Pacific Opera Victoria; and Demetrius in Britten’s A Midsummer Night’s Dream at the Princeton Festival. Issued on the CPO label is his Boston Early Music Festival recording of the title role in John Blow’s Venus and Adonis.
Mr. Duncan’s concerts include Mahler’s 8th Symphony with the American Symphony Orchestra and the Toronto Symphony, Berlioz L’enfance du Christ with the Montreal Symphony; both Bach and Mendessohn’s Magnificat with the New York Philharmonic; Bach’s St Matthew Passion with the Munich Bach Choir, Montreal Symphony, and the Oregon Bach Festival; Haydn’s The Creation with the Québec, Montreal, and Winnipeg symphony orchestras; Beethoven’s Ninth Symphony with the Calgary Philharmonic and Philharmonie der Nationen in Munich, Berlin, Stuttgart, and Frankfurt; Haydn’s The Seasons with the Calgary Philharmonic; Handel’s Messiah with Tafelmusik, the Montreal and Toronto Symphony Orchestras, Handel and Haydn Society, San Francisco’s Philharmonia Baroque, and Portland Baroque; Mozart’s Requiem with the Montreal, Toronto, and Salt Lake City Symphony Orchestras. He has also performed at Germany’s Halle Händel Festival, Verbier Festival, Vancouver Early Music Festival, Montreal Bach Festival, Oregon Bach Festival, Lanaudière Festival, Stratford Festival, Berkshire Choral Festival, and New York’s Carnegie Hall.
Frequently paired with pianist Erika Switzer, Tyler Duncan has given acclaimed recitals in New York, Boston, and Paris, and throughout Canada, Germany, Sweden, France, and South Africa. Mr. Duncan has received prizes from the Naumburg, London’s Wigmore Hall, and Munich’s ARD competitions, and won the 2010 Joy in Singing competition, 2008 New York Oratorio Society Competition, 2007 Prix International Pro Musicis Award, and Bernard Diamant Prize from the Canada Council for the Arts. He holds music degrees from the University of British Columbia, Germany’s Hochschule für Musik (Augsburg), and Hochschule für Musik und Theater (Munich). He is a founding member on the faculty of the Vancouver International Song Institute.
Mr. Duncan’s recordings include Bach’s St. John Passion with Portland Baroque and a DVD of Handel’s Messiah with Kent Nagano and the Montreal Symphony from CBC Television. On the ATMA label are works by Purcell and Carissimi’s Jepthe with Les Voix Baroques.