Messiah - Handel

In recent years, Belfast's annual performances of Messiah have been given in a large hall, with a large chorus, and a small orchestra which plays in a style which is clear and correct but as dry as a bone. Hearing the work performed live by a small, expert choir accompanied on period instruments was a revelation. What struck me from the first was the sheer beauty of sound, an impression helped by the almost overgenerous acoustics of St Eugene's Cathedral.

Harry Christophers caused a stir back in the 1980s by allowing Messiah the natural expressiveness studiously denied it by some of the more self-consciously reforming period-performance practitioners. In 1991, he conducted Messiah in Dublin with The Sixteen, but not, I am told, with period instruments. The performance, given as part of Derry's annual Two Cathedrals Festival, was flowing, light, imaginative and, above all, natural. Soprano Lynda Russell sang I know that my Redeemer Liveth with pure tone and style. The emotional intensity Catherine Wyn-Rogers invested in He was Despised made one sit up and take note. Michael George was firm and resonant in the bass arias, especially Why do the Nations, and the only disappointment was the tenor James Gilchrist, who could have been steadier. Too often, Messiah has been made into a joyless, Sunday-best ritual, so thanks are due to Harry Christophers for making it an enjoyable experience again.