The Stars of our Orchestra - Orchestra Nova San Diego

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Concerts
Masterpiece Messiah
Messiah George Frideric Handel (1685-1759)
Libretto by Charles Jennens
Guest artists
Bach Collegium San Diego
Ruben Valenzuela, Music director
Virginia Sublett, Soprano
Katherine Lundeen, Alto
Robert MacNeil, Tenor
John Polhamus, Bass
Thursday, December 10, 7:30 p.m.
St. Paul’s Cathedral, Downtown
Friday, December 11, 7:30 p.m.
St. James by-the-Sea Episcopal Church, La Jolla, 7:30 p.m.
Saturday, December 12 , 7:30 p.m.
Solana Beach Presbyterian Church, Solana Beach,
An economic downturn for
opera — and bankruptcy
for Handel
It was 1741 and Handel’s beloved opera
house had gone bankrupt as public
interest in opera in England faded. He
was at the peak of his musical prowess,
but now in debt and, not surprisingly,
somewhat depressed. He wisely turned to
the oratorio, in essence a sacred English
opera that was not staged.
Composing at high speed
He began setting Charles Jennens’ biblical
libretto to music at his usual breakneck
speed. Within 24 days, Messiah was
complete. A practical reason that Handel
could compose this work so quickly was
that he often drew upon music composed
earlier. It was often fascinating in the way
he “borrowed” these notes. For example,
the joyous chorus “For Unto Us A Child Is
Born” was originally written for a profane,
The Bach Collegium San Deigo was
founded in 2003 by Ruben Valenzuela
with the purpose of presenting historically
informed performances of music of the
Renaissance and Baroque periods of
history and, in particular, the vocal works
of Bach. The chorus consists of the finest
singers in San Diego, many of whom have
longstanding experience with noted
ensembles on the west coast.
frivolous duet for two
sopranos, castigating “blind
Cupid” and “cruel beauty.”
During its first six seasons, the ensemble has earned an
impressive reputation, captivating diverse audiences with their
unique style and highly expressive and provocative approach to
Renaissance and Baroque repertoire. Among its strengths has
been its ability to tailor a vocal ensemble to a specific repertoire.
“I did think I saw
all Heaven before
me, and the great
God himself!”
Handel, after
finishing the
Hallelujah Chorus
The evolution of
Handel’s Messiah
Messiah is divided into
three sections.
Part I focuses on the
prophecy of the coming
of a Messiah and,
subsequently, Christ’s Nativity.
Part II deals with Christ’s suffering
and death.
Part III offers an affirmation of the Christian
faith and glimpses of the Revelation.
Revisions and adaptations were made many
times after the first performance in Dublin
in 1742, even by Handel himself. Mozart
re-orchestrated the work in 1789 for the
Classical period orchestra and more versions
would come in the 19th and 20th centuries,
sometimes for large choral
festivals with hundreds, even
thousands, of singers.
A tradition was begun
in San Diego
In 2006, joined by the Bach
Collegium San Diego chorus,
Orchestra Nova (then known
as the San Diego Chamber
Orchestra) created a sensation
by performing this great oratorio with the
original 18th century period approach,
creating an unforgettable emotional
experience.
It was the first time in San Diego that a
fully professional chorus and orchestra
had come together to present a
performance that captured much of the
original aestheticism of Handel’s very first
concert. Audience members responded
enthusiastically, and a tradition was begun.
Enhancing the tradition
In 2008, a dramatic video presentation of
great masterpieces of art complemented
the orchestra’s performance of this most
famous of all oratorios, enhancing the
experience even more.
New this year!
Spanish translations of the libretto will be
provided at each of the concerts.
Won over by Handel at age six
Ruben Valenzuela remembers, “I was six years old when I
realized that music was in my life to stay. I heard my local church
choir sing portions of Handel’s Messiah — in Spanish! I remember
hearing the “Hallelujah” Chorus and stopping dead in my tracks.”
Ruben has since distinguished himself as a conductor, organist,
harpsichordist, continuo player and scholar. He is the founder
and music director of Bach Collegium San Diego which has been
influential in enriching the San Diego music community with
music from the Renaissance and Baroque eras.
He is the director of music and organist of St. Peter’s Episcopal
Church in Del Mar and is pursuing a Ph.D. in musicology and
historical performance practices at Claremont Graduate University.
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