The University of Dublin Choral Society (UCDS) staged a stellar Michaelmas Term performance of Handel’s “Messiah” on Wednesday and Thursday this week.
Dublin holds a very special place in the history of “Messiah”. George Frideric Handel wrote his magnum opus during a period of ill health, debt, and declining public enthusiasm. Inspired by the biblical compilations of his friend Charles Jennens, he composed the score in London in a frantic, reclusive state. In total, the composition took him just 24 days — perhaps with more than a touch of divine inspiration. Handel then received an invitation to perform a series of charity benefit concerts in Dublin.
The classic Baroque oratorio, which draws from many different styles, had its world premiere at the Great Music Hall on Fishamble Street, in the heart of Dublin’s old city, in April 1742. It raised £400 to release over 100 debtors from prison. The Dublin premiere received unanimous praise, drawing such crowds that men were asked to leave their swords at the door so that as many as possible could be admitted.
Despite some initial condemnation of performing a sacred work in a secular theatre — prompting Jonathan Swift to threaten to ban cathedral singers from taking part — the piece has stood the test of time.
“Messiah” is most famous for the Hallelujah Chorus, a moment of true emotional release. A persistent legend has it that audiences stand for this movement because King George II rose to his feet at the London premiere. Not wanting to offend the King, everybody else followed suit.
UDCS is the oldest and largest choir in Trinity College, and the oldest university choir in Ireland and Britain. It brings together both students and staff. David Leigh, best known as the organist of St. Patrick’s Cathedral, conducted the performance.
On a frigid November night, this latest instalment of a Christmas staple was heartwarming. Filled with excitement and anticipation, the performance embodied the magic of Advent and the festive season. The talent of the vocalists was staggering, whether soaring in harmony or taking on arias. Their powerful delivery expertly balanced those joyous moments with darker, more dramatic movements like “He Was Despised”.
It is this verve that sets “Messiah” apart from so many other works. The score comes together in one magnificent, complex, influential narrative, its beauty and storytelling matched only by its dramatic expressiveness. Handel claimed he saw heaven before him while writing the score, and you could believe him based on the sheer radiance and splendour on display.
There was palpable joy throughout the evening, never more so than when the brass chimed in unexpectedly from the Exam Hall gallery. With all its grandeur and opulence, the Hall itself proved an ideal venue for the occasion.
It is a credit to the Choral Society that they continue to perform this moving piece with such passion, and to capture its essence perfectly. It was clear that painstaking work had gone into their preparation, and it paid off handsomely.
Reflecting on the premiere of “Messiah” nearly three hundred years ago, the theologian John Wesley supposedly wrote, “there were some parts that were affecting, but I doubt it has staying power.”
This week, the Choral Society proved him wrong yet again.
