Saturday INTERVAL 1 December 7.30pm Federation Concert Hall Duration 20 mins Hobart PART TWO

The death, resurrection and ascension BAROQUE 3 of Christ; the spreading of the Gospel. conductor Duration 44 mins June Tyzack chorusmaster Sara Macliver soprano PART THREE Fiona Campbell mezzo-soprano Victory over Death. Henry Choo tenor Duration 32 mins Morgan Pearse bass This concert will end at approximately TSO Chorus 10 pm.

PART ONE Prophecy of Christ’s appearance on earth; the nativity. Duration 54 mins Sponsored by

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56 57 Christian Curnyn is Founder and Music Sara Macliver is one of Australia’s most Fiona Campbell is one of Australia’s most Regarded as one of Australia’s finest lyric Director of the . He has popular and versatile artists. She is a regular versatile and beloved classical singers tenors, Henry Choo has performed to conducted notable Handel performances performer with all the Australian symphony – a producer and guest ABC presenter, international acclaim with major opera such as for the South Bank Centre orchestras as well as the Perth, Melbourne accomplished international performer, companies and symphony orchestras, at Early Music Festival, for the Buxton and Sydney Festivals, , the recitalist and recording artist. Winner of home and across the globe. He made and Aldeburgh Festivals and national tours Australian Chamber Orchestra and Australian the national Limelight Award for Best Solo his principal debut in 2004 as Ernesto in Brandenburg Orchestra, Musica Viva, and Performance 2011 (with the ABO in its of and . Other productions Opera Queensland’s Don Pasquale. Since a number of international companies. She Haunting Handel concert series), vocal have included Britten’s Beggar’s Opera for then, he has established a diverse operatic records for ABC Classics and has more than winner of the ABC Young Performer of the House Covent Garden and repertoire performing leading roles with 35 CDs and many awards to her credit. In Year Award and the ASC Opera Awards, productions for Opera North, Scottish Opera, Opera Australia, New Zealand Opera, 2016 she sang both the St John and the St she has consistently received wide critical and Opera Theatre Melbourne Opera, Opera Queensland, Matthew Passions for the West Australian acclaim for her powerful performances and Dublin. Performances in recent years have State Opera of South Australia and West and Tasmanian symphony orchestras, and in exquisite musicianship. She sings regularly included The Magic Flute at Garsington, programs with the Australian String Quartet, as a principal artist with the major ensembles Australian Opera. He has also appeared Monteverdi’s The Return of Ulysses at Auckland Philharmonic, Australia Ensemble, and orchestras in Australia including ACO, in international festivals at Edinburgh, London’s Roundhouse, Handel’s Partenope Melbourne Chamber Orchestra, Australian ABO, SSO, MSO, TSO, WASO, Australia Macau and Auckland. Equally versatile and and at the Haydn Ensemble, Sydney Philharmonia Ensemble, ASQ and with Opera Australia, engaging in concert, Henry regularly features and Rameau’s Zaroastre at the Komische Oper Choirs, ANAM, Southern Cross soloists Opera Queensland, WA Opera and Pinchgut as a soloist in oratorio and symphonic works, Berlin. He made his ENO debut in 2008 with and the Royal Melbourne Philharmonic. Opera. Her international collaborators and is a renowned interpreter of Beethoven’s Partenope and conducted for ’s In 2017 she sang with West Australian have included the Brodsky Quartet, Tokyo Symphony No 9, Bach’s St John Passion and 2011 production of Rameau’s . Opera and in several programs with the Philharmonic, Soloists of Handel’s . He also performs in recitals In the US, Christian Curnyn has conducted Melbourne Symphony Orchestra; and with Orchestra and many others. Career highlights and opera concert events. Henry is a multiple for , Glimmerglass and include several concerts with the legendary Bangalow Festival, St George’s Cathedral Green Room Award nominee and many of Chicago Opera Theater. In concert, he has and Collegium Musicum. She recorded a CD tenor José Carreras in Japan and Korea and his performances have been broadcast on conducted the Bournemouth Symphony, Ulster of Calvin Bowman songs for release later in as his special guest artist in Australia. She has television and radio. He appears in a number Orchestra and others. Recordings include the year. In 2018 she sings with the Sydney also been a touring favourite with Barbara of CD and DVD recordings, including being Handel’s and Partenope with the Early Symphony Orchestra, West Australian Opera, Bonney, making her debut at Suntory Hall in featured as a sung voiceover in the P J Opera Company and Italia (Italian baroque West Australian, Melbourne and Adelaide Tokyo and Cadogan Hall in London with the Hogan film Mental, starring Toni Collette. violin concertos) with and the symphony orchestras, the Australian String renowned international soprano. In 2018, Scottish Chamber Orchestra. His recording Quartet, St George’s Cathedral and the Fiona sings Messiah with the Adelaide, 2018 also sees the release of Bright Poet, of was chosen as a Best Recording of Auckland Philharmonic Orchestra. Sara Tasmanian and West Australian symphony Henry’s debut solo album that showcases the 2008 by The Sunday Times, Editor’s Choice in has been awarded an honorary doctorate orchestras, Debussy’s Ariettes oubliés with radiant beauty of his voice through operatic Gramophone Magazine and was awarded the from the University of Western Australia in the Melbourne Symphony and Beethoven’s aria and song, recorded in New Zealand with 2008 Stanley Sadie Handel Prize. recognition of her services to singing. Symphony No 9 in Perth. Orchestra Wellington.

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Messiah Recit Thy rebuke hath broken His heart Part One (Tenor) Prophecy of Christ’s appearance on earth; Air Behold and see (Tenor) the nativity. Recit He was cut off (Tenor) Overture Air But Thou didst not leave (Sop) London-based Australian baritone The TSO Chorus is an auditioned group of Recit Comfort ye (Tenor) Chorus The Lord gave the word over 80 voices that was founded in 1992 Morgan Pearse is making his mark in both Air Every valley (Tenor) Air How beautiful are the feet (Soprano) to present concert performances of opera. hemispheres. He completed the renowned Chorus And the glory of the Lord Chorus Their sound is gone out Since then, the repertoire has broadened to Houston Grand Opera studio programme Recit Thus saith the Lord (Bass) Air Why do the nations (Bass) embrace masses, requiems and symphonies Air But who may abide (Alto) in 2014/15 and made his professional Chorus Let us break their bonds for chorus and orchestra, as well as a diverse Chorus And He shall purify Recit He that dwelleth in heaven (Tenor) début with English National Opera in array of sacred and secular a cappella works. Recit Behold, a virgin shall conceive (Alto) Air Thou shalt break them (Tenor) 2015/16 singing Figaro in The Barber of The TSO Chorus recently returned to its Air O thou that tellest (Alto, & Chorus) Chorus Hallelujah Seville. Recent and future engagements opera roots with the Helpmann Award- Recit For behold, darkness (Bass) Part Three include performances of the title role in winning performance of Wagner’s Tristan Air The people that walked in darkness (Bass) Victory over Death. the Verbier Festival Academy production and Isolde (2016), Bizet’s Carmen (2017) and, Air I know that my Redeemer liveth this year, Gounod’s Roméo et Juliette. In Chorus For unto us a Child is born of Don Giovanni, Valens in in the (Soprano) addition to concerts with the TSO, highlights Pastoral Symphony Karlsruhe Händelfestpiele, the role of Figaro Chorus Since by man came death in recent years include performances with Recit There were shepherds abiding in in Le nozze di Figaro and Papageno in Die the field (Soprano) Recit Behold, I tell you a mystery (Bass) the Sydney Symphony Orchestra, West Air The trumpet shall sound (Bass) Zauberflöte for the Badisches Staatstheater, Recit And lo! The angel of the Lord Australian Symphony Orchestra, Adelaide (Soprano) Chorus Worthy is the Lamb covering the title role in Billy Budd for the Symphony Orchestra, Orchestra Victoria and Recit And the angel said unto them Chorus Amen the Hong Kong Philharmonic Orchestra. With (Soprano) Bolshoi Theatre, Sid in Albert Herring for the Opera had made Handel famous: Buxton Festival, Nero in Kaiser’s Octavia for a reputation for innovative performances Recit And suddenly there was with the since coming to England in 1712 he under the direction of Chorusmaster June angel (Soprano) had written more than 35 operas and the Innsbruck Festival of Early Music as well made arrangements of over a dozen Tyzack, the TSO Chorus commenced the year Chorus Glory to God as making his New Zealand Opera debut as Air Rejoice greatly (Soprano) more. These operas were sung in Italian with two performances in Mofo, maintaining with plots based largely on history and Belcore in The Elixir of Love, where he will Recit Then shall the eyes of the blind its distinctive presence at Mona (previous mythology. The story was told by the (Alto) return in 2019 for The Barber of Seville. He’s performances include Mofo, Dark Mofo soloists in recitatives and virtuosic arias, Duet He shall feed his flock (Alto & and these soloists would often come recently returned from performing in Russia and Synaesthesia). Concerts with the TSO Soprano) together as a ‘chorus’ to sing the finale with the Moscow Philharmonic and Musica in 2018 will be Peer Gynt, A Midsummer Chorus His yoke is easy of each act. Handel had written two Night’s Dream, Fauré’s Requiem, Gounod’s oratorios in his 20s during his time in Viva orchestras and with the Netherlands Part Two Rome, but oratorio was a relatively new Roméo et Juliette and Messiah. The year will Radio Philharmonic. Morgan Pearse has The death, resurrection and ascension of phenomenon in 1740s England. be capped off with a tour to Campbell Town won a number of prestigious competitions Christ; the spreading of the Gospel. Handel’s first English oratorio, and Cygnet. The TSO Chorus welcomes Chorus Behold the Lamb of God (1718), was written at a time when including the Cesti Competition in 2016, new members. Interested choristers should Air He was despised (Alto) there was no point in writing opera: the Haymarket opera company had been the prestigious Lies Askonas prize in 2014 contact the Chorus Coordinator on 03 6232 Chorus Surely He hath borne our griefs... closed and a new company was yet to and the Royal Overseas League’s Music 4421 or visit tsochorus.com.au for more And with His stripes be established. When Handel advertised Competition in 2013. information. Chorus All we, like sheep the first public performance of Esther,

60 61 in the King’s Theatre, the audience was to the Christian believer, a meditation beautiful are the feet’ for his pair of male of choristers to chamber versions with reassured that ‘There will be no Action on the supreme goodness of God in altos. In fact, though certain allocations one voice to a part. Not to mention on the Stage, but the House will be fitted offering to the world his only Son; on the of voice types have become traditional, Norman Miller’s soul version with gospel up in a decent Manner, for the Audience’. sufferings of this sacrificial victim; and on Handel himself was extremely flexible. and R&B performers. Or the Carolina The final shape of Esther owed a great the hope of salvation for humankind now Dr Edward Synge, the bishop of Elphin, Ballet’s dance adaptation. Messiah, it deal to opera. It was in three acts and that the risen Christ stands at the right reported that the Dublin audience seems, has something for everyone. lasted three hours, and the characters are hand of God. ‘seem’d indeed throughly engag’d frome Abridged from a note by Natalie Shea, richly drawn. But Handel also drew on The man who took on the task of one end to the other…’ Clearly, not all Symphony Australia © 2002 another tradition: his grand and formal encompassing such profound concepts the clergy were as scandalised by the Coronation Anthems (such as Zadok the in words was Charles Jennens. He had idea of ‘God by the most sacred the The Tasmanian Symphony Orchestra first Priest) with their strong chorus writing. most merciful Name of Messiah’ being performed this work with conductor John Nicholls, provided words for Handel’s and soloists Gwyneth Dixon, Joan Jones, Frank Mithen The combination was a great success . He may have also been represented on the stage for ‘Diversion’ ‘performed six times and very full’. and Robert Payne, and the Hobart Choral & responsible for the libretto of Israel in and ‘Amusement’ – scruples which would Philharmonic Society in Hobart on 5 December Handel, however, remained committed to Egypt, which shocked many by actually result in Messiah being presented in 1950. The most recent performance was with Italian operas, writing only the occasional quoting Holy Scripture. In 1741 he wrote London without its name, advertised Richard Gill, Jane Edwards, Humble, oratorio over the next nine years. Jaewoo Kim, Christopher Richardson and the TSO to a friend about ‘another Scripture simply as ‘A New Sacred Oratorio’. Chorus in Hobart on 10 May 2014. In 1741, however, things changed Collection I have made for [Handel]...I As in Dublin, the 1743 London dramatically. The public had grown tired hope he will lay out his whole Genius & performances of Messiah took place in of opera and Handel gave up on the Skill upon it, that the Composition may Lent, the season of fasting and self- theatre. Instead, he turned his attention excell all his former Compositions, as the discipline which precedes the solemn seriously at last towards oratorio and, Subject excells every other Subject.’ commemoration of Christ’s crucifixion in just over three weeks produced, It was some two years before Jennens on Good Friday. The Lord Chamberlain’s complete with blots, smudges, and traces heard the fruits of his labour, because Office prohibited the performance of of what looks like an upset ink bottle, the Handel, having completed the score, operas in London during this period, score of Messiah. promptly took it to Dublin, for its and even oratorios were only allowed He broke new ground in the very genre first performances. Some 700 people on Wednesdays and Fridays. (As he had created. An oratorio, according to attended the première, on 13 April performances of Messiah spread beyond Grassineau’s Musical Dictionary of 1740, 1742 in Dublin’s new Music Hall in London, the work came to be associated was ‘a sort of spiritual opera...the subject Fishamble Street: ticket sales had been more with choral festivals and the timing thereof is usually taken from the scripture, so successful that the organisers asked became more flexible. The tradition of or is the life and actions of some saint, the ladies to come without their hooped performing Messiah at Christmas seems &c.’ Handel’s previous English oratorios skirts, and the gentlemen without their to have started in Boston in the 19th were either stories from the Old swords, to be sure everyone would fit in. century.) Testament (Esther, Deborah, Athalia) or It was a charity matinee, for the benefit Messiah quickly became known morality play-type conversations between of the Society for Relieving Prisoners, the throughout England, starting with Oxford allegorical figures (L’allegro, il penseroso Charitable Infirmary, and the Mercer’s in 1749 and in less than 20 years reaching ed il moderato). But Messiah is not a Hospital: Handel and several of the Salisbury, Bath, Bristol, Gloucester, dramatisation of the life of Christ. There singers donated their fees and some Cambridge, Liverpool, Birmingham... are no ‘characters’: nobody sings the £400 was raised from the event. In Victorian Britain, carried along by ‘role’ of Jesus or Mary or Pilate. Indeed, There were seven or eight soloists: two ideals of progress and improvement, apart the angels announcing the birth of sopranos, three altos (the actress Mrs choral societies produced larger and the Christ-child, almost none of the text Cibber and two male altos from the larger-scale performances. At the Great actually comes from the gospels. Cathedral), one tenor and two basses. Handel Commemoration Festival of 1859, The libretto approaches Christ in a Handel revised his original score to it was performed by a chorus of 2,765 round-about way, through Old Testament accommodate this collection of soloists: and an orchestra of 460 to an audience prophecies, letters written to the early the sequence ‘Then shall the eyes – He of 81,000 people. But by the 1880s, Christian communities some years after shall feed His flock – Come unto Him’, there were some performances trying the death of Christ, and the apocalyptic originally written for soprano solo, to recapture something closer to the visions of St John, author of the Book was transposed down for Mrs Cibber, original scale of Handel’s performances. of Revelation. It is a reflection on the as was also the aria ‘If God be for us’. Today it is possible to hear everything significance of Christ’s life and death Handel also wrote a duet setting of ‘How from sing-along Messiah with hundreds

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