Volume 24 Issue 4 - December 2018 / January 2019

anger and frustration. “And with his stripes” plainly
invokes the whip marks covering Jesus’ body. The playfulness
and athleticism of “All we like sheep” finishes
with the introspective acknowledgement of the faithful’s
iniquity. The solos carry this emotional energy as
well. The emotional tenor sings “Thy rebuke has broken
his heart,” a call from the deepest depths of despair, for
help. The mezzo-soprano maintains a humble supplication
with “He was despised.” All of this is underpinned
by the orchestra. Handel’s music carries many
emotional messages over a short period of time.
“It’s part of Handel’s success in general, that he
can unfold and have this incredible impact on your
emotional soul, your emotional centre,” says Debus. “It
can really shake you and elevate you, make you weak
and so on. Among the great dramatists and operatists,
Handel knew how to establish this and make it work.
He knows very well how to set the mood and his talent
for writing ear-worm-like melodies.”
“As a composer of Italian opera, Handel was always
drawn to the ideal of theatrical, operatic writing. In terms of drama,
we will work to apply that here.” Bringing to life the dramatic solos is a
quartet of Canadian talent who have all worked with Debus before: in fact
De Sévigné, McHardy and Haji have all been members of the Ensemble
Studio, a key part of Debus’ programming direction at the COC.
Matthew Loden is particularly keen on this set of soloists as well,
knowing that three of them have been members of the COC Ensemble
Studio. “[This performance] represents a very strong partnership with
the COC,” he says, “with Johannes on the podium and three of four
of soloists connected to the Ensemble Studio. The fact that there are
these remarkable development opportunities for these professional
singers on their way into the world, and that the TSO can be one of
the stops on their trajectory, is really fulfilling. And Canadians really
appreciate when they can celebrate their homegrown talent.”
The Ensemble Studio is part of a musical ecosystem encompassing
the University of Toronto, Royal Conservatory of Music, and the COC,
incubating, supporting and celebrating new generations of talent.
Through performances such as these on the biggest symphonic stage
in Canada, the TSO becomes part of that ecosystem.
Messiah is a core programmatic element of the first half of every TSO
season. “We do Messiah every year is because one of the roles we play in
Toronto is to gather people together into a space that allows them to feel
like they are part of something that is bigger than themselves. Bigger than
they are individually,” shares Loden. “There’s a ceremony around getting
together with friends and family and other musicians on an annual basis
that allows people to both reflect and look forward. Messiah is a perfect
opportunity for that kind of gathering.”
Messiah isn’t part of any regular subscription
package on offer from the TSO. Annually,
ever seat sold is an add-on to a subscription, a
create-your-own subscription package, or individual
concert sale. Sure-fire Messiah sales are
important to the TSO when balanced against new
works or unfamiliar ones to audiences. Loden
acknowledges that these are concerts that sell and
sell out. “Whenever we open the phone lines and
the next season goes on sale, Messiah is often at
the top of people’s list. It tells us that this is something
that is working,” says Loden. “Messiah is a
highlight and focal point from a financial standpoint,
but also within the rhythm of the season.
I think if people want to come and be proud
of being in this great city, being Canadians and
experience this monumental piece of music that
Matthew Loden
has withstood the test of time; to do it in this
concert hall, it’s a very special thing; and I think
that’s why people keep coming back.”
“The images we get through Handel’s music – with all its weaknesses,
the compassion, empathy, glory, exuberance – with all
these aspects, you can find them concentrated in this theatre called
Messiah. I hope that many people will come to these concerts,” Debus
says, adding “and that there won’t be any snowstorms.”
CHORAL SCENE QUICK PICKS
MESSSIAH IS EVERYWHERE
From the November edition of HalfTones, The WholeNote’s mid-month digital
newsletter (subscribe online!): Messiah is near-synonymous with choral communitybuilding:
with festivity, with meaningful memories of classical music, with standing and
singing along. Something about Messiah, and the way it unites community initiatives
with musical professionals, gives it a special place in the city and scene’s musical fabric.
Just an example - this year’s “Messiah for the City” (Dec 22) presented by
Toronto Beach Chorale in partnership with St. Andrew’s Presbyterian Church,
features singers from the Toronto Beach Chorale, MCS Chorus Mississauga and
the Georgetown Bach Chorale, and players from the Toronto Symphony Orchestra.
Founded by the late Jack Layton, “Messiah for the City” is a project dedicated to
providing seasonal concert opportunities to people who otherwise might not have
access to such events. Tickets are distributed by United Way and its partner agencies.
And then all over the map, and in order of appearance (details in our listings):
!!
DEC 1, 4PM: Pax Christi Chorale’s special Children’s Messiah performance for children
and families; Church of St Mary Magdalene, Toronto.
!!
DEC 4-6, 8PM: Soundstreams’ Electric Messiah IV at the Drake Underground, Toronto.
thewholenote.com December 2018 / January 2019 | 23