Star-Ledger: NJSO’s Messiah performance ‘worth the wait’

The Star-Ledger writes:

Handel’s “Messiah” has all but cornered the market on symphonic concerts in December, with dozens of annual performances available throughout the region.

Yet while renditions of the “Hallelujah” chorus and the rest of the masterful oratorio abound in New Jersey and New York this time of year, last weekend marked the first performance of the work by the New Jersey Symphony Orchestra under the baton of music director Jacques Lacombe, who is in his fifth year with the ensemble.

It was worth the wait.

Joined by the Montclair State University Singers, who sounded stunningly professional under the direction of Heather J. Buchanan at the Richardson Auditorium on Friday, Lacombe led a chamber orchestra formation of the NJSO in an elegant, heartfelt performance.

While many renditions now use period instruments, this one maintained a streamlined, polished quality that respected tradition while offering glowing tones that projected easily in the intimate hall. Adding to the sense of authenticity was the accompaniment of recitative and arias on a mix of harpsichord and organ. A quartet of youthful soloists with slender voices fit snugly into the arrangement.

Handel’s 1742 work chronicles the birth of Christ, the crucifixion and the resurrection through text by Charles Jennens based on Old and New Testament material. What sets it apart from so many holiday entertainments is that beyond its messages of mercy, faith and peace, it is exquisitely crafted, drawing on the full range of Handel’s experience as the leading operatic composer of his day.

The work encompasses not just the telling of events in a story, but also emotional reaction to and reflection on events, and it employs vivid text painting throughout.

... soloist Isaiah Bell stood out as a singer to watch, with an uncommonly warm light tenor, smooth musical line and sound artistic choices ... Bass Gordon Bintner rose to his role’s challenges with impressive agility as he took on the voice of God and sang of power that could “shake the heavens” and later of raging nations and the fateful sounds of Judgment Day ... Mezzo-soprano Mireille Lebel exhibited a strong stage presence and appealing tone throughout and her expressivity was well-suited to some of the work’s most memorable moments ... Soprano Nathalie Paulin proved game for a brisk “Rejoice, Greatly.”

Lacombe’s conducting was sure-handed throughout, notable for its fluid, shapely phrasing, its crisp articulation and its gradual build to a satisfying conclusion. The NJSO played with lithe, pliant sound.

The demands of the work, however, fall largely on the chorus, and they surpassed expectations with excellent diction and musicianship from the lilting “O thou that tellest good tidings of Zion” and “All we like sheep,” to the exuberant description of the birth and the clean, unified fugue “And With His Stripes.”

Together, orchestra, chorus, conductor and soloists brought out the work’s many shades, and delivered that one particular seasonal requirement, a rousing “Hallelujah.”

Read the full review.