Last updated 05:13, Friday, 24 October 2008

Messiah – Cumbrian Rural Choirs, St John’s Church, KeswickAfter the organist John Green’s authoritative prelude, the drama began with the tenor’s optimistic advice from God: Comfort ye my people.

With Ian Wright it was clear that the audience were listening to a skilled and accomplished professional.

This led to the first exciting sound of the full, strong chorus, And the glory of the Lord shall be revealed.

The audience surrendered to the experience of the massed choirs from Keswick, Wigton and Ullswater thrilling with one great harmonious, celebratory, confident sound.

Then the focus swiftly shifted in the great aria for bass, But who may abide the day of His coming? Jonathan Millican gave particular dramatic projection to the solo. Quickly the story moved to the graphic, fugued chorus For unto us a Child is born. The singing was now producing real joy, a great tribute to the direction of chorus master, Ian Hare.

Here was a big sound, characterised by shape and style. In beautiful contrast, when the air He shall feed His flock was introduced by the alto, Anne-Marie Kerr, a new gentleness crept in, and the singing was sensitively persuasive.

The charming pastoral aria How beautiful are the feet was sung by soprano Mary Miller who hypnotised with her engaging and enveloping expression and deeply moving appeal.

With the climax of the great Hallelujah Chorus the Cumbria choirs rose triumphantly to the occasion, as did the audience.

The final part of the drama closes with full harmony on the words For ever and ever. The Amen chorus was executed with great verve, conviction and affirmation.

The claims of those who observed that the feet of Ian Hare, the consummate chorus master, were close to levitation in this impressive and laudable finale were perhaps not mistaken.

Full justice had been done to Handel’s Messiah.

BOB FOWLER