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www.MessiahRefreshed.com

Executive Producers: Iris Derke, Jonathan Griffith Producer & Editor: Tim Thorne Recording Engineer & Mixing: Mike Hatch Recording Assistant: George Oulton Recorded in Studio 1, Abbey Road Studios, London, UK from July 29 - August 1, 2019

With special thanks to: Jorge Avila: Distinguished Concerts Orchestra Concert Master & Music Advisor, Messiah Refreshed Dominic Ellis-Peckham: Chorus Master & Advisor, Messiah Refreshed; Asst. Music Director, NYCGB Claire Long & Meg Davies: Project Managers, Music Productions James Williams & Ian Maclay: Royal Philharmonic Orchestra Ben Parry: Artistic Director, NYCGB Diane Marshall: The Jonathan Griffith Singers, Choir Coordinator The Jonathan Griffith Singers Sir Karl and Lady Carol Jenkins Michael Higgins: UK Rehearsal Accompanist Nolan N. Dresden: Music Librarian, Messiah Refreshed Seth McCay: Cover Art and Design Malcom Moon: Photography The DCINY Team In the tradition of the Foundling Hospital Messiah performances sponsored by Handel during his lifetime, a portion of the profit from this recording will go to the Coram Foundation, the successor to the original Foundling Hospital Charity. www.coram.org.uk

P2020 The copyright in this sound recording is owned by Signum Records C2020 The copyright in this CD booklet, notes and design is owned by Signum Records. Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. Signum Records, Suite 14, 21 Wadsworth Road, Perivale, Middlesex UB6 7LQ, UK. +44 (0) 20 8997 4000 E-mail: [email protected] signumrecords.com

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Studio 1 Messiah session, Abbey Road Studios, July 30, 2019 I have had the privilege of conducting Messiah… Refreshed! first in 2000 as a US Premiere, and then annually in either New York’s Lincoln Center or Carnegie Hall since 2011. It has been the intent in these live performances to present the essence of the dramatic aspects of Messiah that Handel surely intended. Prior to Messiah, Handel had many years of success with Italian Opera in London. However, Italian Opera gradually declined in popularity and what had been a great financial success for Handel soon became a burden. Even though Messiah was written for a concert performance, it is treated in its storytelling much like an opera. In an opera, you have several characters telling the story through recitatives, arias and choruses. In Messiah, there are no specific individual characters telling the story, and yet there is a narrative that is presented throughout with recitatives, arias and choruses. In order to best convey this narrative, a live performance with little or no pause between selected movements is presented, so the audience might enjoy the unfolding of the story in as seamless of a presentation as musically and artistically as possible. The same is true with this recording. As much as a seamless segue from recitative to aria, aria to chorus, etc. within the recording is meant to reproduce the same continuous storytelling as in the live performance. It is hoped that the listener will be able to enjoy this interpretation as much as if they were present in the concert hall.

Jonathan Griffith, Conductor

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MESSIah… REfREShED! 20. Air (Mezzo/Soprano) He shall feed his flock [5.26] George Frideric Handel (1685-1759) 21. Chorus His yoke is easy, and his burthen is light [2.51] Edition by Sir Eugène Goossens (1893-1962) & Sir Thomas Beecham (1879-1961) Jonathan Griffith Conductor CD 2: Royal Philharmonic Orchestra PaRT TwO Penelope Shumate Soprano 1. Chorus Behold the Lamb of God [3.52] Claudia Chapa Mezzo-Soprano 2. Air (Mezzo) He was despised [4.48] John McVeigh Tenor 3. Chorus Surely he hath borne our griefs [2.31] Christopher Job Bass-Baritone 4. Chorus And with his stripes we are healed [2.07] The Jonathan Griffith Singers 5. Chorus All we like sheep have gone astray [4.20] National Youth Choir of Great Britain 6. Recit. (Tenor) All they that see him laugh him to scorn [0.53] 7. Chorus He trusted in God [2.53] CD 1: 8. Recit. (Tenor) Thy rebuke hath broken his heart [2.08] PaRT ONE 9. Air (Tenor) Behold, and see if there be any sorrow [1.25] 1. Orchestra Sinfonia (Overture) [3.58] 10. Recit. (Tenor) He was cut off out of the land of the living [0.23] 2. Recit. (Tenor) Comfort ye my people [3.03] 11. Air (Tenor) But thou didst not leave his soul in hell [2.26] 3. Air (Tenor) Ev’ry valley shall be exalted [3.28] 12. Chorus Lift up your heads, O ye gates [3.49] 4. Chorus And the glory of the Lord [3.05] 13. Chorus The Lord gave the word [1.13] 5. Recit. (Bass) Thus saith the Lord [1.30] 14. Air (Soprano) How beautiful are the feet [2.27] 6. Air (Bass) But who may abide the day of his coming? [5.15] 15. Chorus Their sound is gone out [1.41] 7. Chorus And he shall purify [2.58] 16. Air (Bass) Why do the nations so furiously rage together? [3.01] 8. Recit. (Mezzo) Behold, a virgin shall conceive [0.28] 17. Chorus Let us break their bonds asunder [2.13] 9. Air (Mezzo) & Chorus O thou that tellest good tidings to Zion [5.51] 18. Recit. (Tenor) He that dwelleth in heaven [0.17] 10. Recit. (Bass) For behold, darkness shall cover the earth [2.44] 19. Air (Tenor) Thou shalt break them [2.00] 11. Air (Bass) The people that walked in darkness [4.46] 20. Chorus Hallelujah [4.29] 12. Chorus For unto us a child is born [4.21] 13. Orchestra Pifa (“Pastoral Symphony”) [3.21] PaRT ThREE 14. Recit. (Soprano) There were shepherds abiding in the field 21. Air (Soprano) I know that my redeemer liveth [6.20] And lo, the angel of the Lord came upon them [0.42] 22. Chorus Since by man came death [2.02] 15. Recit. (Soprano) And the angel said unto them [0.47] 23. Recit. (Bass) Behold, I tell you a mystery [0.39] 16. Recit. (Soprano) And suddenly there was with the angel [0.19] 24. Air (Bass) The trumpet shall sound [4.26] 17. Chorus Glory to God [2.15] 25. Chorus Worthy is the lamb that was slain [9.16] 18. Air (Soprano) Rejoice greatly, O daughter of Zion [4.49] 19. Recit. (Mezzo) Then shall the eyes of the blind [0.31] Total running time ...... 134:13 4 5

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MESSIah… REfREShED! knew from Beecham’s recording, had been scaled down because the performing An introduction by Andrew Stewart organizations couldn’t afford the full version she was used to! When she heard our performance of the Goossens Messiah, she instantly connected with the work she knew George Frideric Handel’s Messiah, like all great artworks, means many things to many from Beecham’s records. It is my intention that our recording will be as Goossens people. Its message of mankind’s salvation speaks to listeners of all faiths and none, while its envisioned the work to be.” music holds the power to move and inspire a global audience. For all the light cast on Messiah by a multitude of lean vocal ensembles and period-instrument orchestras, the iconic Griffith first learned of Goossens’ reorchestration from a publisher friend in 1997. “He knew oratorio’s appeal as a work for grand choral and symphonic forces has grown in recent years, about my passion for large-scale choral works, especially unusual or neglected ones,” the encouraged not least by Distinguished Concerts International New York (DCINY) and its conductor recalls. “He suggested the Goossens Messiah, as recorded by Beecham, might Artistic Director and Principal Conductor, Dr. Jonathan Griffith. Their ‘Messiah… Refreshed!’ appeal.” Griffith contacted the Royal Philharmonic Orchestra and Eugène Goossens’ programme, an annual fixture of New York’s concert calendar since 2011, pulls capacity harpist sister, Leonie, then in her late nineties; neither knew where the performing crowds to hear Messiah clothed in Sir Eugène Goossens’ majestic instrumentation. materials were or whether they had survived.

The Goossens Messiah, recorded for the first and only time by the Royal Philharmonic In the spring of 1999, Jonathan Griffith received a phone call from the RPO’s librarian. “You Orchestra and Chorus under Sir Thomas Beecham, has stood as a landmark of the classical won’t believe what’s on my desk” he said. He’d received copies of the score and parts from catalogue for sixty years. Goossens’ richly orchestrated version is set to reach a new Lady Beecham. The orchestra intended to use them for a performance of the Goossens audience thanks to Maestro Griffith and DCINY, New York City’s leading promoter of Messiah at the Royal Albert Hall that September. The concert was billed as ‘Messiah for the classical music. They gathered at Abbey Road Studios in London in July 2019, to record the Millennium’, to be broadcast as the first of BBC World Service’s Millennium Concerts. work with the Royal Philharmonic Orchestra and a chorus comprising of sixty members of The Jonathan Griffith Singers, drawn from around the world and sixty members ofthe Griffith travelled to London for the performance, attended several rehearsals, and was National Youth Choir of Great Britain. The new recording has captured the score’s vibrant befriended by Pamela Main, Sir Eugène’s companion in his final years and guardian of his tone colours in thrilling high-definition sound. estate. “Her small flat was filled with boxes of Goossens’ music, correspondence and memorabilia,” he recalls. “It turned out that, while Beecham commissioned the “Goossens’ reorchestration of Messiah is quite simply marvellous, powerful, astonishing,” orchestration, the rights to it remained with Goossens, so Pamela Main retained ownership. comments Jonathan Griffith. “I believe it strikes the heart of the piece. The Goossens She granted me permission to give the North American premiere of the Goossens Messiah, Messiah emerged in the modern symphony orchestra’s heyday, when nobody imagined which I did in April 2000.” that Handel would be performed on period instruments. Beecham’s recording, among the top ten best-selling recordings of Messiah ever made, has probably introduced the work The story of Goossens, Beecham and Messiah reads like the plot of a Robertson Davies to more people than any other. It’s certainly dear to a large number of people and is the novel. It contains intrigue and mystery, arguments about attribution, even a brush with the only Messiah that many of them know. I realised just how much it means in April 2000, occult and a suitcase containing ‘blasphemous, indecent, or obscene works’. The latter was when the sister of my soprano soloist for the North American premiere told her: ‘Finally, discovered in Goossens’ possession in March 1956 by Australian customs officials when he I’ve heard the Messiah I know from my recording at home’. She assumed other arrived at Sydney airport to resume work as Music Director of the Sydney Symphony performances she’d heard, which lacked the tonal richness and number of instruments she Orchestra. Although details of what was in the suitcase remain unclear, its contents

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included over 800 photographs considered to be pornographic by the authorities; they additions by other hands. These were of eight movements traditionally cut from Messiah also linked Goossens to his lover, Rosaleen Norton, an artist and occultist branded the but included by Beecham in an ‘Appendix’ to his recording. But it’s clear that Goossens was ‘Witch of Kings Cross’ in the tabloid storm that engulfed and destroyed the conductor’s responsible for most of the reorchestration.” career in Australia. Goossens was prosecuted, convicted in absentia and fined, and resigned from the Sydney Symphony Orchestra soon after. In an essay included in the recording’s lavish program book, Beecham claimed that Messiah had ‘all but lost interest for the average concert-goer’, even in England. ‘That this is due to Beecham had long desired to adapt Messiah for modern symphony orchestra but never the creation of the modern orchestra … there can be no doubt’. He went on to argue the found time for the job. He correctly assumed that Goossens, struggling with the case for adapting and enlarging Handel’s instrumentation to suit the ‘average public uncertainties of freelance life in London, would appreciate a well-paid commission. building where music is played [today]’, concert halls with the capacity to seat up to 3,500 Beecham invited Goossens to mark the bicentenary of Handel’s death with a fresh people. Neither the conductor nor the program book’s editor mentioned Goossens’ orchestration of Messiah. He paid his old friend a handsome fee and received in return a contribution to what was advertised by RCA Records as ‘Beecham’s Messiah’. Reviews and score reimagined for modern times. On May 19, 1959, Beecham wrote to Goossens with a editorial coverage published at the time of the album’s release, however, acknowledged few suggestions about the score. ‘You will not forget, I am sure, that ‘Hallelujah’ (that is the Goossens’ role as orchestrator. With passing time, the recording became synonymous with first three bars of it) must lead off with the most glorious and crashing noise, everybody Beecham. A publicity flyer pegged to the album’s reissue on compact disc in 1992, going all out – hell for leather!’ meanwhile, claimed that Goossens’ orchestration, ‘was not to Beecham’s liking … so he reorchestrated it himself’. The full score was delivered piecemeal so that orchestral parts could be copied and ready for the sessions. Goossens’ instrumentation included, among other additions to Handel’s The choral conductor and former King’s Singer, Brian Kay, unwittingly fired the opening orchestra, parts for four horns, three trombones, tuba, piccolo, contrabassoon, two harps, salvo in a war of words in February 1999 when he selected Beecham’s Messiah recording triangle, cymbals, and bass drum. The Royal Philharmonic Orchestra enlisted a professional as his recommendation for BBC Radio 3’s Building a Library feature. Carole Rosen, chorus of around eighty singers for the recording sessions in June and July 1959; seven biographer of the Goossens musical dynasty, wrote to Gramophone magazine soon after to weeks later Beecham joined London’s Philharmonia Orchestra and Chorus at the Lucerne applaud Kay’s choice but challenge his assertion that ‘the orchestration was partly by International Festival of Music to direct the only concert performance given during Goossens and partly by Beecham’. She argued that Goossens’ hand was behind all but a Goossens’ lifetime. The recording, issued in 1959 on four LPs in a luxury presentation small part of the work, traditionally cut in performance, which had been reinstated and album, soon became a best-seller for RCA Records. rescored at the ‘last moment’ by the RPO’s librarian, George Brownfoot.

“This commission was Beecham’s way of supporting someone he’d championed as a young Lady Beecham, the conductor’s widow, wrote to Gramophone to refute Rosen’s analysis man,” observes Jonathan Griffith. “The fee of £1,000 for Goossens’ work on Messiah was and provide an alternative account. Sir Thomas, she insisted, had been ‘dismayed’ to quite a sum in 1959, and was meant to help him get over this career-breaking event in discover that Goossens had ‘scarcely started work’ on Messiah just weeks before the Australia. As work progressed, Goossens began to run out of time. He recycled Mozart’s first recording session, and that ‘the part already written was not to his liking’. The work, orchestrations in several movements, simply adding harp, and also adopted Ebenezer Lady Beecham continued, was completed by the composer and arranger Leonard Prout’s instrumentation elsewhere, which Beecham had used for past performances. It’s Salzedo, a member of the Royal Philharmonic Orchestra’s violins. An undated note from clear from the full score, now in the library of the University of Sheffield, that there are Beecham to Goossens, penned hastily probably toward the end of June 1959, tells a

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different story. ‘We are working madly on the oldMessiah – it is going to sound fine – expect to finish by end of the month,’ wrote Beecham. He enclosed ‘what the lawyers (I believe) call a “refresher”,’ suggesting that the conductor made a fresh contribution to his friend’s finances for his work on Messiah.

Pamela Main played a decisive part in settling the question of attribution. She was alarmed to discover an advertisement for ‘the first UK performance in 40 years of Sir Thomas Beecham’s spectacular orchestration of Handel’s masterwork’, scheduled for September 1999. Main instructed her solicitor to inform the BBC that its ‘Messiah for the Millennium’ should only include numbers from the manuscript score not in Goossens’ hand. Her gambit led to a ruling by the BBC’s Head of Legal Affairs, which stated that the work to be performed at the Royal Albert Hall was ‘in our view, Sir Eugène Goossens’ orchestration of Handel’s Messiah. It is not an adaptation of Sir Eugène’s work by a third party.’

“Beecham commissioned this version to make Messiah available to major symphony orchestras and symphonic choruses,” notes Jonathan Griffith. “The rediscovery of the J. Griffith, I. Derke T. Thorne, C. Chapa score means that we can now judge Goossens’ reorchestration in the concert hall. We’ve seen how audiences respond with such affection to his wonderfully inventive and sensitive instrumentation, and want our recording to introduce it to a new generation of listeners.”

10 A. Whelan, C. Job C. Job, C. Chapa, P. Shumate, J. McVeigh11

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JONaThaN GRIffITh PENELOPE ShUMaTE Conductor Soprano

An acclaimed conductor, educator and lecturer, Dr. American soprano Penelope Shumate has received critical Jonathan Griffith has led performances across North acclaim for her performances in Messiah with DCINY; America, Europe, and Asia. Griffith is Co-Founder and “Penelope Shumate sang the soprano solos with appealing Artistic Director of Distinguished Concerts International bell-like clarity and surpassing sweetness” (The New York New York (DCINY), which has brought together, under Times), and “One of the best ‘Rejoice greatly, O daughter of Griffith’s artistic leadership, thousands of musicians and Zion’ that I have ever heard live” (New York Concert choral singers in concert at prestigious venues across the Review). She has appeared at Carnegie Hall and Lincoln United States, including Carnegie Hall, Lincoln Center, and Center, and has performed with the Santa Fe Symphony Disney Hall. The founder and Music Director of the Orchestra, Chamber Orchestra of Philadelphia, Distinguished Concerts Orchestra, Griffith also oversees Distinguished Concerts International New York, Heartland DCINY’s mentoring program for conductors. Festival Orchestra, Quincy Symphony Orchestra Association, Rapides Symphony Orchestra, Oklahoma City Philharmonic, Opera Company Maestro Griffith made his Carnegie Hall conducting debut in 1989 and has since conducted of Philadelphia, Opera Roanoke, Des Moines Metro Opera, Utah Festival Opera, Annapolis well over 150 performances at Carnegie Hall and Lincoln Center combined. In addition to Opera, Opera on the James, Opera in the Heights, and the Berkshire Choral Festival, among the major works of the classical repertoire, conducting highlights include the U.S. premieres many others. She has received vocal awards from the Gerda Lissner Foundation, The of Karl Jenkins’ Stabat Mater and Te Deum; Sergei Taneyev’s At the Reading of a Psalm; American Prize, the MacAllister Awards, the Annapolis Opera Vocal Competition, and the Miloš Bok’s Missa Solemnis; Luigi Boccherini’s Villancicos; and Eugène Goossens’ Kennett Symphony Orchestra Vocal Competition, among others. Her oratorio soloist reorchestration of Handel’s Messiah, along with world premieres by Eric Funk, Seymour performance repertoire includes Messiah, Requiem (Verdi, Mozart, Fauré, and Rutter), Bernstein, and Robert Convery. Carmina Burana, The Creation, Te Deum (Dvorˇák), Symphony No. 9, Ein Deutsches Requiem, Elijah, and her opera, operetta, and musical theatre roles include Violetta in La Traviata, Maestro Griffith’s additional conducting credits include the Mormon Tabernacle Choir in Fiordiligi in Così fan tutte, Pamina in Die Zauberflöte, Laurie in The Tender Land, Konstanze Salt Lake City; Manhattan Philharmonic and New England Symphonic Ensemble, both at in Die Entführung aus dem Serail, Micaëla in Carmen, The Governess in The Turn of the Carnegie Hall; The European Symphony Orchestra in Spain; Bohuslava Martin Screw, Hanna in The Merry Widow, Adele in Die Fledermaus, and Magnolia in Show Boat. Philharmonia and Philharmonia Chorus, Virtuosi Pragensis Chamber Orchestra, Karlovy Vary Symphony Orchestra, and Dvorˇák Chamber Orchestra, in the Czech Republic; and the Bialystok State Philharmonic in Poland, as well as numerous regional orchestras and choruses across the United States.

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CLaUDIa ChaPa JOhN MCVEIGh Mezzo-Soprano Tenor

Claudia Chapa has been seen in such theatrically dynamic Acclaimed for his “rich lyrical tenor, fabulous top notes, roles as Azucena from Il Trovatore with Winter Opera St. and striking good looks,” John McVeigh continues to garner Louis, St. Petersburg Opera Company and Opera in attention for his countless world-class performances at the Williamsburg and Madame Flora from The Medium and the most revered houses throughout the United States and Witch from Hänsel Und Gretel with Opera in the Heights. worldwide. This season, McVeigh returns to The Engagements include Zita from Gianni Schicchi and Zia Metropolitan Opera for their productions of Turandot and Principessa from Suor Angelica with St. Petersburg Opera, Le nozze di Figaro. Most recently, Mr. McVeigh performed Fenena from Nabucco with West Bay Opera, Mary from the role of Don Basilio in The Marriage of Figaro with The Flying Dutchman with Austin Opera, Alto soloist for Opera Theater St. Louis, performed as a soloist in Handel’s Verdi’s Requiem and featured soloist for De Falla’s El Amor Messiah with Indianapolis Chamber Orchestra and DCINY, Brujo and Lieberson’s Neruda Songs with the Alabama and as a soloist in Beethoven’s Symphony No. 9 with Symphony, Alto soloist for Mahler 2nd Symphony and Bloody Mary from South Pacific with DCINY. Having led a prolific concert and oratorio career, Mr. McVeigh has performed the Gulfshore Symphony, Alto soloist for Bruckner’s Te Deum with the Austin Symphony, notorious pieces throughout the world including Händel’s Messiah with the Indianapolis Hedwige from William Tell and Ortrud from Lohengrin with Opera Southwest, Dryade from Chamber Orchestra, Seattle Symphony, Phoenix Symphony, San Diego Symphony, Austin Ariadne Auf Naxos with Austin Opera, Zita from Gianni Schicchi and Buoso’s Ghost with Symphony, Nashville Symphony, Philadelphia Orchestra, Boston Baroque, Minnesota Opera Delaware, Berta from Il Barbiere Di Siviglia for Opera San Antonio, Dame Quickly Orchestra, and with DCINY at Carnegie Hall; Orff’s Carmina Burana with the Memphis from Falstaff with Winter Opera St. Louis and Opera in the Heights, Marthe from Faust Symphony, Detroit Symphony, and Utah Symphony; Haydn’s Creation with the Portland with Indianapolis Opera, Third Lady from Die Zauberflöte with the Glimmerglass Festival, Symphony, Berkshire Chorale, and the Winston Salem Symphony, with whom he also sang Portland Opera To Go, and Austin Lyric Opera, and covering the Old Lady from Candide Bach’s St. John’s Passion. A house favorite at The Metropolitan Opera, he has performed with Glimmerglass Festival. Ms. Chapa has been heard in Verdi’s Requiem, Beethoven’s 9th numerous productions with the esteemed company. Favorite engagements with the house Symphony, and Handel’s Messiah with DCINY. Ms. Chapa received her training from the include his Metropolitan Opera début as Pang in Turandot, Bardolfo in Falstaff, Tinca in Il Butler School of Music at the University of Texas-Austin. She is an alumnus of the tabarro, Little Bat in their first production of Susannah under James Conlon, and their prestigious young artist programs including the International Vocal Arts Institute (both in productions of La Fanciulla del West, Dialogues des Carmelites, Le nozze di Figaro, Blacksburg, VA and Tel Aviv, Israel), Des Moines Metro Opera, and the Glimmerglass Turandot, Eugene Onegin, Die Zauberflöte, The Merry Widow, La traviata, Falstaff, Manon, Festival for which she was chosen as a young artist for two consecutive seasons. Das Rheingold, Ariadne auf Naxos, and Billy Budd.

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ChRISTOPhER JOB ThE JONaThaN GRIffITh SINGERS Bass-Baritone The Jonathan Griffith Singers, an ensemble drawn from singers around the world and Christopher Job has been a house favorite at the founded in 1987, has made its mark internationally. Members of the ensemble have Metropolitan Opera since the beginning of his career, he performed in some of the world’s finest concert halls, including Carnegie Hall and Lincoln has been featured in six of their “Live in HD” broadcasts, Center in New York, the Rudolfinum in Prague, the Palau de la Musica Catalana in and has appeared in numerous other productions such as Barcelona, Santa Maria Sopra Minerva in Rome, and the Cathedral Duomo of Pisa in Italy. Tosca, Der Rosenkavalier, Roberto Devereux, Werther, In recent years, Griffith has led the Singers on highly acclaimed tours to Uruguay and Macbeth, and The Nose; and was recently featured on their Argentina; to the People’s Republic of China, premiering Karl Jenkins’ The Armed Man: A 50th Anniversary Lincoln Center Gala. He returns to the Mass for Peace in Beijing and Shanghai; and to Pisa, Italy. Dr. Griffith and The Jonathan Met next season for Manon Lescaut, Macbeth, Le nozze di Griffith Singers toured Turkey in June of 2013 performing the acclaimed Turkish oratorio Figaro, La Cenerentola, La traviata, Tosca, and The Magic Yunus Emre by A. Adnan Saygun in Istanbul with the Cemal Res¸it Rey Orchestra and in Flute. Other notable credits include engagements with Ankara and Eskins¸ehir with the Presidential Orchestra at the invitation of the TURKSOY New York City Opera, Minnesota Opera, Virginia Opera, governmental agency. The Jonathan Griffith Singers can be heard on two Christmas Palm Beach Opera, Opera Colorado, Glimmerglass Opera, Lyric Opera Baltimore, Des recordings: Peace at Christmas on the Clarion label, and Festival of Lights on Bonneville Classics. Moines Metro Opera, Chautauqua Opera, Charlottesville Opera, Princeton Festival, Odyssey Opera, Opera Idaho, Opera Fort Collins and Fargo-Moorhead Opera, singing SOPRaNO Shirley Adrain; Wanda Alger; Assunta Borrelli; Christine Day; Gabriella Derke; roles such as Escamillo (Carmen), Figaro (Le nozze di Figaro), Leporello (Don Giovanni), Margaret Emery; Rosemary Gaskell; Patricia Harle; Carol Henri; Heidi King; Loretta Kutz; Karen Olin Blitch (Susanna), Dulcamara (L’elisir d’amore), Alidoro (La Cenerentola), Colline (La Nugent; Shirley Piercy; Merissa Quek; Ana Shipman; Sandra Weingarten; Katharyn Wheeler Bohéme), among many others. In the realm of musical theater, Mr. Job has been featured in My Fair Lady with the New York Philharmonic, sharing the stage with Kelsey Grammer aLTO Janet Armstead; Barbara Boyer; Bonnie Fazio; Catherine Firestone; Elisa Gonzalez and Brian Dennehy, as well as several roles in Barrington Stage’s Pre-Broadway production Mendoza; Mahealani Jones; Anne Lefier; Linda Luke; Diane Marshall; Charlotte Mitchell; of Bernstein’s On The Town, directed by Tony Award-winning director John Rando, and Sarah Reilly; Helen Richard; Kirstin Santos; Linda Smith; Michelle Teasel; Callie Roth- choreographed by Emmy Award-winner Joshua Bergasse. He has appeared globally at Welstead; Leslie R. Wilson; Sierra Zang some of the world’s most renowned houses and concert halls, including Carnegie Hall, TENOR Dennis Doran; John Gardner; Bruce Harle; Austin Klipp; James Lawther; Gregg David Geffen Hall, Walt Disney Concert Hall, and Barcelona’s Palau de la Musica Catalana, Mitchell; Eric Myers; Matthew Norris; Thomas Rosati; Robert Sideli; Nicholas Simonelli; Messiah th and is in high demand for his interpretations of Handel’s , Beethoven’s 9 Alan Steiner; Neil Travis; Finley Woolston; Arnold Yzaguirre Symphony and Verdi’s Requiem. BaSS Brian Cheney; Brian Emery; Brooks Firestone; Peter Gaskell; John James; Kent Kimball; Rodney Kutz; Timothy McCool; Gerald Richman; David Ross; Antonio Santos; Manuel Servin; Scott Waples; Charles Wright; Justin Zang SINGER SUPPORT Georgia Ann Cheney; Doreen Job; James Job; Fred Marshall; Jean McCool; Katherine Ness. Special thanks to Maria Braginsky and Morgan Yachinich. 16 17

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NaTIONaL YOUTh ChOIR Of GREaT BRITaIN

Founded in 1983 as a single choir of 100 of the best singers in the nation, the National Youth SOPRaNO Lydia Nicole Baines; Charlotte Baker; Eleanor Bray; Imogen Creedy; Anna Dias; Choir is now the flagship ensemble of an Arts Council England National Portfolio youth Rebecca Doherty; Ellen Griffiths; Lauren Hollis; Rhiannon Humphreys; Loren Kell; music organisation and registered charity, the National Youth Choir of Great Britain Francesca McClean; Hope Rodenhurst; Talia Sanders; Helen Southernwood (NYCGB), which runs five membership choirs, a nationwide outreach programme for schools and Music Hubs, and provides professional training for the next generation of aLTO Emily Beringer; Amelia Cant; Louise Gerth; Tallulah Horton; Jade Lam; Alice Latham; choral singers, composers and leaders. Moya Morrison; Lucy Mullin; Freya Parry; Isobel Reid; Clare Sutherland; Lucy Thalange TENOR Jacob Cole; Joe Dixon; Jamie Farrow; Jack Harberd; Scott Harvey; Michael Hillesdon; Members of the National Youth Choir meet four times a year for an Annual Programme of Timothy Moore; Benedict Munden; Alexander Sermon; Rowan Sheilds; Andrew Woodmansey training and performance projects, including performances at the Royal Albert Hall and Snape Maltings, recordings and premieres of new music by leading contemporary BaSS Thomas Boutelle; George Cook; Theo Drabble; Sam Gilliatt; Jamie Goodwyn; Ben composers and workshops and residencies with a guest faculty of distinguished Leigh-Grosart; Quentin-Zach Martins; Andrew Moore; Joshua Quinlan; Tom Underwood; practitioners from a wide range of musical disciplines. The choir’s section leaders hold David Valsamidis; Robert Harvey Wood NYCGB Fellowships and receive a standalone programme of training and development to prepare them for professional musicianship as performers, leaders and teachers. Members ChOIR aDMINISTRaTORS Elizabeth Curwen and Emily Sanders are aged 18-25, and re-audition annually.

The National Youth Choir’s concert schedule offers members an outstanding performance platform on which to achieve at the highest level. Recent highlights include appearances at the 2018 and 2019 BBC Proms and Snape Proms, and the Amiens World War One commemoration in the presence of HRH The Duke of Cambridge and over 3,000 international guests. The choir also performed at the Classic FM Live première of Patrick Hawes’ Great War Symphony, as well as recording the chart-topping Classical album.

For many, National Youth Choir membership inspires a lifetime commitment to music and music education. NYCGB alumni include Royal Opera House and English National Opera company principals, members of The Sixteen, The Monteverdi Choir, The King’s Singers, The Swingles, The Choirboys, G4, Blake, and All Angels, as well as conductors, classroom teachers, Music Hub professionals, and musical charity workers. Just as importantly, many more stay engaged with the UK’s vibrant and diverse choral culture on an amateur basis, creating and participating in choirs and festivals, working as ambassadors for singing and music-making, and transmitting the joy of singing to the next generation.

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ROYaL PhILhaRMONIC ORChESTRa

For more than seven decades the Royal Philharmonic Orchestra (RPO) has been at the CELLO Richard Harwood; Chantal Webster; Roberto Sorrentino; Jean-Baptiste Toselli; forefront of music making in the UK. Its home base since 2004 at London’s Cadogan Hall Rachel van der Tang; Naomi Watts; Anna Stuart; Deborah Chandler serves as a springboard for seven principal residencies as well as more than forty-five concerts per year in long-term partnership venues across the country, often in areas DOUBLE BaSS Benjamin Cunningham; Ben Wolstenholme; Mark O’Leary; Harry Atkinson; where access to live orchestral music is very limited. In London, the Orchestra’s regular Marianne Schofield; Cathy Colwell performances at Cadogan Hall are complemented by a distinguished series at Southbank fLUTE Emer McDonough; Joanna Marsh Centre’s Royal Festival Hall and a hugely popular series at the Royal Albert Hall. With a wider reach than any other UK large ensemble, the RPO has truly become Britain’s PICCOLO Patricia Moynihan national orchestra. OBOE John Roberts; Timothy Watts; Lauren Weavers Alongside its concert series, the RPO embraces twenty-first-century opportunities, COR aNGLaIS Patrick Flanaghan including appearances with pop stars and on video game, film and television soundtracks, whilst its artistic priority remains paramount: the making of great music at the highest level CLaRINET Katherine Lacy for the widest possible audience. This would have been lauded by its Founder and first conductor, Sir Thomas Beecham, who set up the RPO in 1946, leading a vital revival in the BaSS CLaRINET Katy Ayling UK’s orchestral life after World War II. Since then, the Orchestra’s principal conductors BaSSOON Joshua Wilson Helen Storey have included Rudolf Kempe, Antal Doráti, Walter Weller, André Previn, Vladimir Ashkenazy, Yuri Temirkanov, Daniele Gatti and Charles Dutoit; and its repertoire has CONTRa BaSSOON David Chatterton encompassed every strand of music from the core classical repertoire to music of the twentieth and twenty-first centuries, and works by leading composers of recent years, such fRENCh hORN Nicholas Mooney; Kathryn Saunders; Philip Woods; Finlay Bain; Elise Campbell as Sir Peter Maxwell Davies and Sir John Tavener. TRUMPET Angela Whelan; Adam Wright; Katie Smith fIRST VIOLIN Duncan Riddell; Shana Douglas; Joana Valentinaviciute; Judith Templeman; TROMBONES Rupert Whitehead; Ryan Hume Andrew Klee; Kay Chappell; Anthony Protheroe; Erik Chapman; Sophie Mather; Rosemary Wainwright; Imogen East; Winona Fifield; Rosemary Hinton; Sheila Law BaSS TROMBONE Simon Minshall SECOND VIOLIN Andrew Storey; David O’Leary; Charlotte Ansbergs; Stephen Payne; TUBa Kevin Morgan Sali-Wyn Ryan; Siân McInally; Victoria Lyon; Katherine Harris; Colin Callow; Nicola TIMPaNI Stephen Quigley Hutchings; Helen Cochrane; Susan Evans PERCUSSION Martin Owens; Gerald Kirby; Oliver Yates VIOLa Abigail Fenna; Florian Peelman; Ugne Tiškuté; Chian Lim; Esther Harling; Jonathan Hallett; Triona Milne; Helen Picknett; Pamela Ferriman; Terry Nettle haRP Helen Tunstall 20 21

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From R to L: Tim Thorne, Jorge Avila, Dominic Ellis-Peckham Visit: www.MessiahRefreshed.com for text translations in other languages

PaRT ONE

1. Orchestra Sinfonia (Overture)

2. Recitative Tenor Comfort ye, comfort ye my people, saith your God; speak ye comfortably to Jerusalem; and cry unto her, that her warfare is accomplishèd, that her iniquity is pardoned. The voice of him that crieth in the wilderness, Prepare ye the way of the Lord, make straight in the desert a highway for our God.

3. air Tenor Ev’ry valley shall be exalted, and ev’ry mountain and hill made low; the crooked straight and the rough places plain.

4. Chorus And the glory of the Lord shall be revealèd, and all flesh shall see it together; for the mouth of the Lord hath spoken it.

5. Recitative Bass-Baritone Thus saith the Lord, the Lord of hosts: Yet once a little while and I will shake the heav’ns, and the earth, the sea, and the dry land; and I will shake all nations, and the desire of all nations shall come. The Lord, whom ye seek, shall suddenly come to His temple, ev’n the messenger of the covenant, whom you delight in; Behold, He shall come, saith the Lord of hosts.

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6. air 12. Chorus Bass-Baritone For unto us a Child is born, unto us a Son is given, and the government shall be upon His But who may abide the day of His coming, and who shall stand when He appeareth? For He shoulder: and His name shall be called Wonderful, Counsellor, the Mighty God, the is like a refiner’s fire. Everlasting Father, the Prince of Peace. (Isaiah 9: 6) 7. Chorus And He shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness. 13. Orchestra Pifa ("Pastoral Symphony") 8. Recitative Mezzo 14. Recitative Behold, a virgin shall conceive, and bear a Son, and shall call His name Emmanuel, God with us. Soprano There were shepherds abiding in the field, keeping watch over their flocks by night. 9. air and Chorus And lo! the angel of the Lord came upon them, and the glory of the Lord shone round about Mezzo them, and they were sore afraid. O thou that tellest good tidings to Zion, get thee up into the high mountain; O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say 15. Recitative unto the cities of Judah, Behold your God! Soprano Arise, shine, for thy light is come, and the glory of the Lord is risen upon thee. And the angel said unto them, “Fear not; for, behold, I bring you good tidings of great joy, which shall be to all people. Chorus For unto you is born this day in the city of David a Saviour, which is Christ the Lord.” O thou that tellest. . . etc. 16. Recitative 10. Recitative Soprano Bass-Baritone And suddenly there was with the angel a multitude of the heavenly host, praising God, and saying: For, behold, darkness shall cover the earth, and gross darkness the people; but the Lord shall arise upon thee, and His glory shall be seen upon thee, 17. Chorus and the Gentiles shall come to thy light, and kings to the brightness of thy rising. “Glory to God in the highest, and peace on earth, good will towards men.”

11. air 18. air Bass-Baritone Soprano The people that walked in darkness have seen a great light: Rejoice greatly, O daughter of Zion; Shout, O daughter of Jerusalem: And they that dwell in the land of the shadow of death, upon them hath the light shined. behold, thy King cometh unto thee: He is the righteous Saviour, and He shall speak peace unto the heathen.

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19. Recitative 4. Chorus Mezzo And with His stripes we are healèd. Then shall the eyes of the blind be opened, and the ears of the deaf unstopped; then shall the lame man leap as an hart, and the tongue of the dumb shall sing. 5. Chorus All we like sheep have gone astray; we have turnèd ev’ry one to his own way; and the Lord 20. air hath laid on Him the iniquity of us all. Mezzo & Soprano He shall feed His flock like a shepherd; and He shall gather the lambs with His arm, and 6. Recitative carry them in His bosom, and gently lead those that are with young. Tenor Come unto Him, all ye that labour and are heavy laden, and He will give you rest. All they that see Him, laugh Him to scorn, they shoot out their lips, and shake their heads, saying: Take his yoke upon you and learn of Him; for He is meek and lowly of heart: and ye shall find rest unto your souls. 7. Chorus “He trusted in God that He would deliver Him; let Him deliver Him, if He delight in Him.” 21. Chorus His yoke is easy, and His burden is light. 8. Recitative Tenor Thy rebuke hath broken His heart; He is full of heaviness. He looked for some to have pity PaRT TwO on Him, but there was no man; neither found He any to comfort Him.

1. Chorus 9. air Behold the Lamb of God, that taketh away the sins of the world. Tenor Behold, and see if there be any sorrow like unto His sorrow. 2. air Mezzo 10. Recitative He was despised and rejected of men: a man of sorrows, and acquainted with grief. Tenor He gave His back to the smiters, and His cheeks to them that plucked off the hair: He was cut off out of the land of the living: for the transgressions of Thy people was He stricken. He hid not His face from shame and spitting. (Isaiah 53: 6) 11. air Tenor 3. Chorus But Thou didst not leave His soul in hell; nor didst Thou suffer Thy Holy One to see Surely He hath borne our griefs, and carried our sorrows; corruption. He was wounded for our transgressions; He was bruised for our iniquities; the chastisement of our peace was upon Him.

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12. Chorus 19. air Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of Glory Tenor shall come in. Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter’s vessel. Who is this King of Glory? The Lord strong and mighty, The Lord mighty in battle. Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of Glory 20. Chorus shall come in. Who is this King of Glory? The Lord of Hosts, He is the King of Glory. Hallelujah! for the Lord God omnipotent reigneth.

13. Chorus The kingdom of this world is become the kingdom of our Lord, The Lord gave the word: great was the company of the preachers. and of His Christ: and He shall reign for ever and ever.

14. air King of Kings, and Lord of Lords. Soprano How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings Hallelujah! of good things!

15. Chorus PaRT ThREE Their sound is gone out into all lands, and their words unto the ends of the world. 21. air 16. air Soprano Bass-Baritone I know that my Redeemer liveth, and that He shall stand Why do the nations so furiously rage together? Why do the people imagine a vain thing? at the latter day upon the earth: The kings of the earth rise up, and the rulers take counsel together against the Lord, and And though worms destroy this body, yet in my flesh shall I see God. against His anointed. For now is Christ risen from the dead, the first-fruits of them that sleep. 17. Chorus Let us break their bonds asunder, and cast away their yokes from us. 22. Chorus Since by man came death, by man came also the resurrection of the dead. 18. Recitative For as in Adam all die, even so in Christ shall all be made alive. Tenor He that dwelleth in heaven shall laugh them to scorn; the Lord shall have them in derision.

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The Messiah….Refreshed! Choir, July 30, 2019 23. Recitative Bass-Baritone Behold, I tell you a mystery: We shall not all sleep; but we shall all be chang’d in a moment, in the twinkling of an eye, at the last trumpet.

24. air Bass-Baritone The trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. For this corruptible must put on incorruption, and this mortal must put on immortality.

25. Chorus Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. Blessing and honour, glory, and pow’r, be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever. Amen.

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