Goshen - Just as Beethoven's four-note motif (dit dit dit dah) epitomizes the symphony, so does Handel's celebratory expression of "Hallelujah" from his "Messiah" in another four-note pattern (HAL-le-lu-jah), exemplify the oratorio. But this most famous of all oratorios is more than the majestic "Hallelujah" chorus for which King George II stood (and all others in attendance followed) more than two and a half centuries ago in London.

The tradition of standing for this movement was spontaneous once more at the First Presbyterian Church as the Classic Choral Society & Orchestra under the direction of Janiece Kohler presented a noble and dignified offering of Handel's masterpiece on Saturday evening. But beyond the joyful exaltation of the Hallelujah chorus that appears near the end in this work, there are several different moods, most of which were delivered by soloists.

Tenor Nicholas Augustus began the 23 sections of this presentation with "Comfort Ye My People" in a bold and eloquent voice as he emphasized the phrase "Prepare ye the way of the Lord." Intensity continued in the following "Every Valley Shall be Exalted," as he applied the florid technique of word-painting (much used in the Baroque) on words such as "valley" and "crooked."
Alto Kristine MacMillin was both refined in voice and delicate in her delivery of "Behold, a Virgin Shall Conceive" as she was also in the following "O Thou That Tellest Good Tiding to Zion."

But from here, the story turned ominous as bass Ron DeFesi with bold voice and in somber spirit intoned "For Behold, Darkness Shall Cover the Earth." And for emphasis in the following "The People That Walked in Darkness," he colored the phrase "shadow of death" with poignant intensity.

After intermission, soprano Jody Weatherstone's lyric voice turned upbeat and optimistic as she introduced an angel to worrisome shepherds in a warm-voiced delivery of "And Lo, the Angel of the Lord Came Upon Them."

For their part, the 69 choristers effectively discriminated between robust and cantabile passages as in "Glory to God." Though beginning with an explosive entrance on the title phrase, in a subsequent reference to "peace on earth," the singers turned solemn and reflective in tone and mood. In the contrapuntal sections of "For Unto Us a Child Is Born," the imitation between voices added a joyful lift.

Besides providing excellent instrumental accompaniment for the voices, the 21-piece orchestra was featured in the Overture as well as in the Pastoral Symphony, which opened the second half of the program. Under Kohler's direction, the players maintained proper balance, not only among themselves but also with the entire ensemble.

Home Page | About Us | History | Alumni | Current Members | Personnel Profiles
For Members Only | Repertoire | Performance Reviews | Sounds | Photos | Calendar of Events
Directions | Community Support | Guest Book | Contact Us | Links

Site design & hosting by
Arrow Web Design