Accent, Island Orchestra
★★★✩✩
Director: Laurence Equilbey
Place and date: Palau de la Música (21/XII/2023)
The question might arise as to why (at least) a Messiah by Handel every year on Christmas days in concert settings... The concert space, which, in some way, responds to the basilical scheme, recalls the religious ritual that it commemorates and is rejoice at the birth of Jesus Christ. There is no doubt why Händel did it, already immersed in the world of entertainment, guidelines that are maintained, along with the more humanized idea of a community that wants a good Christmas party – this one in a strictly family setting –, although the Catholic liturgy has an important action at the same time as Christmas Eve. A celebration is always welcome, then, and if it is with this music even more so, and also if it is by outstanding performers who, like the soprano Sandrine Piau, made their experience and their art shine.
In the end there was enthusiastic applause for the virtues of Händel's oratorio, although conductor Equilbey, veteran founder of the Accentus choir, deserved it, it was for the result of her choral work in the second part, in which the work shows its most defined profile. and eloquent, which also allowed the soloists Bénos-Djian, Toby Spence and Alex Rosen to show more musicality and conviction as in the aria He was despised (countertenor), or in the small recitatives and subsequent arias by the tenor Spence that replaced the planned one. last hour, or Why do the nations by bass Rosen favored by the emphasis, although in such a low register the baroque articulation is not easy to resolve. Piau's aria that opened the third part is indisputable. And the chorus also grew with good bass, clarity in the sections, power and conviction. The director Equilbey does not show good gestures before the instrumental parts (I am no longer talking about her chaos in Hallelujah, with a good choral response, of course) and she manages to make people choose not to watch her from the music stands because she scores decidedly badly. In reality, this work requires directing work, but in rehearsals, and if you want on stage, delicate gestures that mark character. There is no need for someone moving excessively on the podium. In the first part, a musically timid beginning improved in soloists and chorus, which took shape in For unto us a child..., which preceded a good pastoral symphony. What does not seem to work is the chaotic solution given to those who (it is normal, too) arrive late. Can't you highlight, for example, chairs at the back of the room, which would make the entrance more comfortable for everyone?
