Emma Pearson Shines in Mixed Performance of Handel’s ‘Messiah’

Soprano Emma Pearson delivered a standout performance in a mixed rendition of Handel’s ‘Messiah’ on December 13, 2023, at the Michael Fowler Centre in Wellington. This collaboration featured the Orpheus Choir alongside the Orchestra Wellington, conducted by Brent Stewart. The evening aimed to merge large-scale drama with a more intimate, detailed presentation of the classic oratorio.

The performance attempted to balance two distinct interpretations of ‘Messiah’ that have emerged in Wellington recently: a grand, powerful version and a smaller, more intricate arrangement. Despite the ambition, the execution produced a somewhat uneven experience. The choir’s robust sound, while impressive, often clashed with the smaller orchestra, which consisted of just 30 musicians and was anchored by Bethany Angus‘s harpsichord.

Stewart’s direction in the opening numbers lacked the necessary drama, setting a rapid pace that did not quite resonate with the overall tone of the piece. This approach contributed to a disconnect between the choir’s powerful sound and the delicate orchestral accompaniment, which at times felt underwhelmed.

The soloists showcased a varied range of performances. While Emma Pearson captivated the audience with her rich and expressive voice, particularly in the aria “He Shall Feed His Flock,” her sound contrasted sharply with that of her fellow performers. Maaike Christie-Beekman, the alto, offered a commendable performance marked by clarity, though it lacked the same power that Pearson brought to the stage.

Tenor LJ Crichton adopted a more reverent approach, which at times left him overshadowed by the orchestra. His engagement with the text appeared tentative, impacting his overall presence. In contrast, bass Joel Amosa delivered a more traditional interpretation, his gravelly tone lending weight to numbers such as “The People That Walked in Darkness.”

Despite these disparities, the performance had its highlights. Certain segments, particularly “For unto Us a Child Is Born,” showcased excellent articulation and balance among the vocal lines. Crichton’s confidence grew throughout the evening, culminating in a more powerful second-half performance that resonated with the audience.

Yet, some selections, such as “And with His Stripes We Are Healed” and “All We Like Sheep,” fell short of delivering a cohesive narrative. The performance raised questions about the underlying vision for the interpretation and the musical story being conveyed. The overall impression was that while the music remained beautiful and well-executed, the concert did not fully capture the grandeur that ‘Messiah’ can offer.

Audience reactions varied, with some attempting to initiate a standing ovation, reflecting a level of satisfaction that did not necessarily align with the performance’s overall impact. While the evening provided an enjoyable experience, it ultimately ranked among the weaker interpretations of ‘Messiah’ in recent Wellington history.