Last Updated on December 13, 2023
On the Sixteenth day of Christmas
As the year rolls into December, seasonal productions creep back into every aspect of the performing world. The Nutcracker, pantos, carolling are all unavoidable but for classical music, there is one oratorio which stands above all else. Oh yes, its Messiah season. The Sixteen at St Martin in The Fields started that season in singular splendour.
Nearly everyone will be familiar with Handel’s music, the Hallelujah chorus in particular is so ubiquitous its hard to read without hearing the tune. Messiah is frequently performed with the largest choir which can be mustered to add massive force behind the music but The Sixteen have gone for a different tack, with only 18 singers in the choir.
What they lack in numbers, The Sixteen certainly do not lack in professionalism and quality of sound. This is not just a good choir, this is a phenomenally finely tuned group of musicians. Every chord is spot on, every note sounds fantastic and each of the sections sing with one impeccably timed voice. While groups of soloists signing together can frequently seem like a competition, there was not one iota of that with this choir. Their alto section is augmented with two counter tenors which adds even richer texture to their ravishing sound.
What all this manages to achieve is a controlled choral sound which matches the level of mastery achieved by the finest international orchestras. This lets the choir unleash Handel’s sound with stunning precision. Polyphony can sound messy, but here each singer had perfect timing and the same notes which cleared the clouds and let the original contrapuntal interplay shine.
Alongside the choir played The Sixteen’s own orchestra, ideally suited and well honed for this music they all played on period instruments. Harry Christophers conducted, having founded The Sixteen over 40 years ago, Christophers was at home amidst the music and each section came across with vibrancy and clarity.
St Martin in the Fields was an ideal venue, the resonant acoustic and open space went well with the choral music. I would recommend pre-ordering a cushion if you do go though, those church pews are unforgiving at best.
Messiah features four solo parts which were also ably performed. Hilary Cronin had a bright and clear sound as the soprano part. Helen Charlston’s distinctive lower range in the alto part gave her swoops up into the high notes spine-tingling power. Matthew Brook’s raw power as a bass is hard to bargain with but his baroque ornamentation leaves a bit to be desired. Robert Murray was a controlled and effective solo tenor.
If what you want from a Messiah is a rafter-rattling hallelujah chorus of unending might then this may not be the one for you. But what The Sixteen do offer is certainty that you’ll stay awake through the rest of it.
https://thesixteen.com/
The Sixteen are next performing at Cadogan Hall on December 14th
Photos credit David Monteith-Hodge
