Raising the roof with joyful voice and music

As darkness descended on the gothic magnificence of St Muredach's Cathedral, the eager murmurings of the packed pews fell silent in anticipation of Handel's immortal oratorio Messiah. Under the watchful gaze of angels and the darkened stained glass windows, the cathedral choir filed into the chancel to join the assembled instrumentalists and soloists. With a gentle flick of the hands, conductor Regina Deacy set Handel's masterwork in motion, transporting us through the prophecy and passion of Christ's coming in a performance that will linger long in the memory.

Regina coaxed a thrilling urgency from the Irish Choral Sinfonia from the first cascading notes of the overture. The rapid string passages were crisp and precise, settling all assembled into rapt attention. As the overture drew to its exultant close, tenor David Lynn delivered a moving and nuanced interpretation of the opening recitative Comfort Ye My People and aria Every Valley Shall Be Exalted. His warm, inviting tenor was ideally suited to the gentle contours of this pastoral music. Through tasteful variations in tone colour, he evoked different characters – the promising warmth of "valley" and the towering height of "mountain".

Then, the power of the full chorus rang out with the declamatory certainty of And the Glory of the Lord. The cathedral's excellent acoustics caressed each voice in turn, overlapping lines blending into a singular vision. While most of the Cathedral choir are in their middle years, including the visiting members of Cór Mhaigh Eo, Regina Deacy harnessed that intergenerational skill by guiding the precision of entries and unified phrasing. Partnered with the fresh vigour of the younger soprano voices, the chorus, I hope, achieved a synthesis of tone and optimism.

The sequence of Old Testament prophecies showcases Handel's dramatic flair, underpinned by his unerring melodic gift. Regina skillfully paced these contrasting moods, from the gentle pastorale of Comfort Ye to the stark urgency of Thus Saith the Lord. Tenor David Hugh brought an ardent intensity to the role, conveying the urgency of prophecy with a ringing tone. In the following recitative, his flexibility and sensitivity to the text propelled the narrative forward. Partnered with the chorus, he led us compellingly through each new prophecy revealed.

The soprano solos of Part One are assigned to the Virgin Mary, though she remains unnamed. Young soprano Rachel Croash performed them with grace and tenderness, her silvery tone conveying an affecting blend of innocence and awe. In the exquisite There Were Shepherds, her ornamentation embellished Handel's melody with tasteful elegance. The flowing lines of Rejoice Greatly demonstrated her agile upper register and ability to imbue long phrases with direction and meaning.

Later in Part II, Soprano Croash returned for the soprano obligato How Beautiful are the Feet. Her verse rang with renewed vigour atop the chorus's exultation. Trills and runs cascaded brightly but remained tasteful, subordinate to the meaning of the text. The technical challenges were handled with sparkling aplomb.

A highlight of the evening was also Anne Marie Gibbons' poignant rendition of He Was Despised and Rejected. This sorrowful aria depicts the scorn and suffering endured by the Messiah. Handel crafted a haunting melodic line over mournful strings, with minimal ornamentation to focus all attention on the text. 

Anne Marie's smooth, velvety lower register is ideally suited to the alto range. She moved skillfully between chest and head voice, providing pleasing variety in tone and colour. Dynamics were attenuated with sensitivity to underscore the text; piano passages gave melancholy poignancy to words like "griefs" and "sorrows". Her performance's simplicity revealed the deep sorrow and compassion within Handel's music.

The chorus later followed Anne Marie with Surely He Hath Borne our Griefs. The choir echoed her hushed dynamics, each voice echoing with grief. The ensemble here should deliver a haunting and solemn rendition, capturing the mournful essence of this movement. The opening unison statement of "surely" sounded like an anguished cry, with tenors and basses descending painfully on "griefs". As the imitative counterpoint began, conductor Regina Deacy artfully sculpted the choral texture through dynamic swells and contrasts. Brief solo lines emerged from the texture, imbuing individual voices with distinct anguish. The young soprano's aching emphasis on the word "sorrows" cut straight to the heart.

Moments of poignant dissonance on "he was wounded" evoked Messiah's anguish, with Regina Deacy allowing the clashes to resonate fully. Hopefully, we followed her measured tempo, giving the chorale a feeling of sombre procession.

While soprano and alto offered reassurance, bass and tenor often delivered solemn warnings, such as in the implacable The People That Walked in Darkness. Rory Musgrave's rumbling bass quickly filled the cathedral's space. Without undue bluster, he compelled our attention with trenchant diction and authoritative delivery. In recitatives, he provided a nimble narrative foundation for the unfolding drama. Later, the triumphant The Trumpet Shall Sound revealed a thrilling expressiveness, his instrument broadening to a declaration of victory.

Part Two explores Christ's passion. Here, Handel's genius for dramatic contrast is at the fore, sharply juxtaposing the gentle devotion of Behold, and see if there be any sorrow like unto His sorrow with the angry crowd's Let Us Break Their Bonds Asunder. Tenor David Lynn was moving in his recitatives, engaging in rapid dialogue that built tension.

No Messiah performance is complete without Handel's iconic Hallelujah chorus. A charge of electricity swept through the cathedral from the first trumpet fanfare and thundering timpani rolls. The Irish Choral Sinfonia attacked the spirited rhythms with precision and verve. Brilliant trumpets pierced through the texture with radiant tones. 

As the choral entries began, conductor Regina Deacy highlighted each voice part through dynamic shaping, allowing the complex counterpoint to shine. The sopranos' ascending line "for the Lord God omnipotent reigneth" rang with crystal clarity. Basses drove forward with inexorable momentum, while tenors and altos were expected to embellish the lines. Thankfully, the collective power of the massed choir and orchestra raised the roof with joyful noise.

Finally, we arrived at the work's culminating statement of belief, Worthy Is the Lamb. After the trials of Part Two, this grand affirmation uplifts the spirit, honouring Christ's sacrifice. Here, the choir joined in blazing unison, their voices raised in reverence and joy. The cadential Amens should build steadily in an authoritative tour de force, voices fading in and out of prominence like glinting shafts of light. The orchestra, likewise, should provide robust support in ever-thickening textures, pushing the final cadence to a thunderous resolution. Judging from the audience's reaction, I believe we succeeded.

After the resonances decayed, hearing deafening applause erupting in appreciation of a taxing performance was a relief. Conductor Deacy kept her forces in elegant balance, allowing Handel's intricate counterpoint to be clearly heard. Her attention to dynamic contrast provided a nuanced interpretive arc underlying the work's grand trajectories. The Irish Choral Sinfonia played with stylish unity, enriching Handel's elegant textures. The assembled choirs gave their best, filling the cathedral's spaces with a sound that articulated Handel's intricate lines. And the soloists, particularly the radiant Rachel Croash, sent their voices soaring aloft in moments of transporting beauty.

In his later years, Handel was often brought to tears by performances of his most famous oratorio, perfectly encapsulating his abiding faith. As we filed out into the cold winter air, it was clear that his masterwork retains its inspirational power. For this November evening, St Muredach's stone walls resounded with the heavens' music. The Hallelujah and Amen echoes will continue reverberating into the frosts of December and the New Year. As we celebrate the Advent season, Messiah invites us to contemplate anew the promise of salvation and the transcendent glory of "the great God himself". No matter one's creed or faith, Handel's music can uplift and unify all who embrace its beauty.