Merry Opera Company’s 'Messiah' review
This year is the 275th anniversary of Georg Frideric Handel’s composition of the highly influential choral work Messiah (with text compiled by Charles Jennens from the King James Bible and Book of Common Prayer). As such it was an ideal time for the Friends of St Mary Magdalene to invite the Merry Opera Company to perform it as part of their tour (and an esteemed itinerary it is, taking in Nottingham Cathedral, University Church, Oxford and St James’ Piccadilly, Mayfair).
The MOC have transformed the oratorio (concert piece) into an opera. Each of the 12-strong cast is assigned the outline of a personality to which they are to give expression through the stages of Messiah. The first half of the production covers Part I, with prophecies by Isaiah and others and the annunciation to the shepherds. After the interval, Parts II and III detail the Passion (with the ‘Hallelujah’ chorus), the resurrection and Christ’s glorification in heaven.
At the start, members of the Company emerge from the pews or from the back of the church. Dressed in ordinary clothes and wandering not a little aimlessly, initially it seems that they are very gauche members of the audience. The natural English reaction not to kick up a fuss allows the realisation to dawn on us that this is part of the performance.
Before the arrival of Christ, people are cold and remote from each other, callously shoulder-barging others or being contemptuous of what is written in the scriptures. When unto a child is born, the mood changes. Angels have halos represented humorously by paper plates.
The second half opens with the company members emerging in funereal black and with sombre expression. Christ becomes the Man of Sorrows, ‘acquainted with grief’. Jeered and attended by mocking laughter as He is crucified, there is a breakdown in society – people walking about distressed in their position in life; and licentiousness as one lady sidled up to men in the audience rubbing their shoulders sensuously with her leather gloves.
Like magicians distracting the audience while the next part of the act unfolds, the Company, member by member, dress gradually in white, until one (who looks not unlike football manager Jürgen Klopp) is left in the centre of the nave, whereupon he throws a white sheet over himself and as he sings, shedding the black trousers and suchlike to emerge chrysalis-style all in white.
The ‘Hallelujah’ section is terrific ensemble singing and action. There is still time for one character (Thomas?) to be uncertain and sit in the pews but he returns to be embraced. At the conclusion, they take up stations around the church to deliver the uplifting conclusion.
The performances (including the musicianship and direction) were deeply engaging, extremely heartfelt and frequently funny – worthy of the standing ovation they received. A truly inspiring night and a pleasure and a privilege to be there.