You could say that the stylistic measure of Handel’s “Messiah” lies in one of its soloists: the contralto. In the early 20th century the part was the province of doughty dames like Clara Buttor Ernestine Schumann-Heink, well-upholstered figures with stentorian voices. At Musica Sacra’s “Messiah” on Wednesday at Carnegie Hall, it was taken by Ryland Angel, a countertenor with the voice of a grown British choirboy, light and sweet and angelically clarion, and ever so slightly mischievous.
This sound quality set the tone for a performance that was as light and bright and dry as Champagne. Richard Westenburg, the group’s music director, brought a lithe reading characterized by silvery sopranos, flowing lines and no bombast at all, even when timpani and trumpets (fine work here by Raymond Mase) came into play. The booming bass phrase “And peace on earth” in the chorus “Glory to God” was simply melodic, not hammered.
The entrance of the soprano soloist, Judith Pannill, in “He shall feed his flock” was a smooth continuation of the countertenor’s line, rather than evoking, as it so often does, a game of poker. (“I’ll see your line, and raise it.”) Even the “Hallelujah” chorus was springy and light, as Mr. Westenburg moved bouncily around the stage, wearing evening clothes, a red carnation and black sneakers.
The chorus, 34 members strong, sang with crisp nuance, and struck such a balance with the other singers that it seemed like a fifth and strong soloist. Of the others, Ms. Pannill had a pretty ribbon-candy voice, small and sweet and bright, that she couldn’t always sustain; the tenor, William Hite, used his light instrument wisely; and they did not try to force their voices to be more than they were. Richard Zeller, the baritone, exuded a warm fog of sound.
As for the contralto: I have always had a personal preference for using a woman for this part. But Mr. Angel showed that casting a countertenor can make sense.
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