Reviews: Messiah at Benaroya

Both Seattle papers had great things to say about the Symphony Chorale. I like that.

'Messiah' brings out the best in SSO (Seattle P-I)

By R.M. Campbell, P-I Music Critic

The Seattle Symphony Orchestra has long performed "Messiah" but not always well. That changed dramatically Thursday night at Benaroya Hall. Even in the most routine of performances, the music is so dramatic and telling it sells itself. But when it is charged with energy, filled with intelligence and played with precision and nuance, "Messiah" becomes electrifying. This is how it was at Benaroya.

Instead of the usual 90 or so musicians in the orchestra, there were no more than 30, if my count is accurate: probably 22 strings and a few scattered winds and timpani. The chorus was the Seattle Symphony Chorale, which has slowly emerged from its years in the desert into an ensemble of fine singers, led by George Fiore and then Joseph Crnko, who succeeded him in September.

Christian Knapp, SSO assistant/associate conductor from 2004 to 2006, was the man on the podium. He is a musician of bright lights and keen insights. He has spirit and verve and conviction. Everything about his reading of the "Messiah" pointed to his gift for bringing out the best in the band and chorus. He captured the robust nature of the oratorio, but that did not mean it was simply loud and fast. Knapp managed to make the work lithe and quicksilver without any loss of depth. There was rejoicing as well as grief.

While the orchestra was informed by period style in terms of its small size, the chorus -- 125 are listed in the roster -- was not. What was remarkable is that it did not sound heavy-handed and ponderous. When the score calls for the singers to move quickly, which it does often, these singers did just that. You could hear the individual notes in fast-moving passages instead of the usual sludge. This is not an easy feat for so many singers. The sound was handsomely balanced, with dramatic fortes and focused pianos.

The soloists were more varied. Celena Shafter's soprano was clear and emphatic, and she had no difficulty negotiating the coloratura writing in her part. However, she emoted rather extravagantly. Charlotte Hellekant's mezzo-soprano was more problematic. I liked the depth of her voice, but it was stiff and awkward and could not move with any alacrity. The tenor of David Ossenfort is big and round and attractive. He can sing softly, but he did not use that gift often enough. Harold Wilson, the bass, was able.

Kudos should go to another soloist, this one, trumpet player Richard Pressley, who did fine service in the aria "The Trumpet Shall Sound."

P-I music critic R.M. Campbell can be reached at 206-448-8396 or rmcampbell@seattlepi.com.

Sure hand at helm of triumphant "Messiah" (Seattle Times)

By Melinda Bargreen, Seattle Times music critic

Despite its familiarity, Handel's "Messiah" is a potential minefield of tricky stops and starts, technical challenges, and other opportunities to run amok. Seldom have all these pitfalls been so smoothly negotiated as in the Seattle Symphony's current "Messiah" production, which is a thorough triumph for conductor Christian Knapp from start to finish.

Knapp, who looked positively delighted to be there, was considerably more than just a traffic cop, directing players and singers this way and that. His clean, concise conducting underscored the oratorio's innate drama, urging all the forces onward with a commendable attention to both detail and meaning. At times — as in the chorus "He trusted in God" — Knapp cued the Seattle Symphony Chorale into a near-frenzy of excited intensity. The results were breathtaking.

The conductor also opted for measures that made this "Messiah" a taut, forward-moving show. He took unusually brisk tempi in several of the choruses; he also eliminated awkward pauses by having soloists and chorus stand and sit early, so the flow of the music was unimpeded.

The Chorale, prepared by new director Joseph Crnko, acquitted itself well, sounding alert, focused and completely committed to the performance. The four vocal soloists were Celena Shafer (soprano), Charlotte Hellekant (mezzo-soprano), David Ossenfort (a mellifluous tenor) and Harold Wilson (a resonant bass). Shafer's operatic gestures and expressions might have been a bit overdone, but she nailed the difficult passagework and sang with extraordinary clarity. Trumpeter Rick Pressley did a fine job with his solos; the violins sounded great under the leadership of concertmaster Frank Almond. In sum, it was a great "welcome home" for Knapp, formerly associate conductor here, and obviously a guy on the way up.
Melinda Bargreen: mbargreen@seattletimes.com