At Christmastime, as at Easter, Handel’s Messiah is the oratorio with pride of place. But what’s wrong with Bach’s Christmas Oratorio? Or his Easter Oratorio, for that matter?
Last night, Carnegie Hall offered a performance of the Christmas Oratorio. Onstage were the Orchestra of St. Luke’s and La Chapelle de Québec. The latter is a choir. It was founded by Bernard Labadie, who was the conductor for the evening. Like his choir, he is a Quebecker. He is also the principal conductor of the Orchestra of St. Luke’s.
Let me recount a story. Years ago, Fred Kirshnit, my late friend and colleague, was taken by his uncle Syd to a performance of The Flying Dutchman at the (old) Met. When the overture was finished, Syd leaned over to Fred and said, “It’s all downhill from here.”
The Christmas Oratorio begins with a boffo chorus: “Jauchzet, frohlocket.” But it’s not all downhill from there. The Christmas Oratorio is loaded with good music, great music: choruses, arias, duets, etc. This is peak Bach.
Last night, the opening chorus went well. The trumpet got in his (or her) glorious licks. This trumpet was smooth, lyrical, and—critically—in tune. And the timpani gave us the right vigor.
About Monsieur Labadie’s approach to the oratorio, a few generalities. He was balanced and moderate. This sounds negative. It is not. The music did not suffer from anemia—an anemia born of “period” consciousness. Neither was it overripe. As for tempos, they were sensible. Labadie is a sensible musician. Again, this sounds like faint praise, at best. It is not: good sense is invaluable in music-making.
Labadie had the orchestra breathing well. (The choir, too.) Some players were better than others, as can be expected. The most striking instrument on the stage was the theorbo, with its beautiful, long neck.
The Christmas Oratorio needs four vocal soloists, and they all did their parts proud. The tenor was Andrew Haji, a Canadian. He sang easily—in a lovely, unforced manner. The baritone was another Canadian, Joshua Hopkins. I rhapsodized about him in 2010, when he sang in A Quiet Place (Bernstein) at City Opera. “He owns a gorgeous voice,” I wrote, “a voice with gold in it.” It’s still there. And he deploys it niftily.
A musician friend of mine was saying that the mezzo has all the good arias in this oratorio. She has several, true. But is there a better one than “Grosser Herr,” for bass (or baritone)?
The mezzo-soprano was not a mezzo-soprano but a singer billed as a “contralto.” I did not know they existed anymore, outside Ewa Podleś. But our contralto was Avery Amereau, an American. She sang beautifully—and with dignity, regality, and poise. Just what the doctor ordered.
Earlier this season, Liv Redpath, an American soprano, was Oscar in Un ballo in maschera at the Met. She was our soprano soloist last night. Reviewing Ballo, I wrote that she was “smart, capable, and assured.” That applies to last night as well.
I have criticisms, as critics do. The Sinfonia could have used more warmth—more warmth and a smile. It was a bit perfunctory. From the chorus “Ehre sei Gott in der Höhe,” I wanted more brio, more spiritual ecstasy. From “Wir singen dir in deinem Heer,” I wanted more heft. The opening to “Herrscher des Himmels,” I wanted to swing a little more.
I’m like Oliver Twist, wanting more. But this was a satisfying account.
Like the aforementioned Fred Kirshnit, I enjoy seeing musicians in the house—concert musicians, performing musicians, attending other people’s concerts. Sir Donald Runnicles is now conducting Tannhäuser at the Met. Last night, however, he was in Carnegie Hall, for some Bach.
I’d like to mention something else, too, as long as you don’t tell anyone. Very confidential. I realize that the St. Matthew Passion is the great Bach oratorio. Some people regard it as the finest work of music. And his St. John Passion is not far behind. But, you know? There’s nothing I enjoy more than the Christmas Oratorio. And the Easter Oratorio.