Oregon Symphony's "Messiah" breaks into the fast lane

David Danzmayr led the Oregon Symphony in a super-fast performance of Handel’s “Messiah” on Saturday evening (December 4) at the Arlene Schnitzer Concert Hall. This daring decision by the orchestra’s new music director gave the sense of rushing ahead, but at the cost of leaving much of the music’s emotion in the dust. If only someone had walked on stage and issued a speeding ticket.

The orchestra performed it all immaculately, with the strings excelling in creating clean lines with no vibrato, much like you would hear from a baroque ensemble. Jeffrey Work’s accompanying “The trumpet shall sound” was a highlight of the evening, and the addition of the theorbo, as part of the continuo team (with Garrett Bond switching between the harpsichord and portative organ), came across very strongly, albeit a little too strongly at times.

The Portland State Chamber Choir was well prepared by Ethan Sperry, but it could not articulate the numerous runs without resorting to da-ga-da-ga-da-ga iterations because of the fast tempos. That became really annoying. Transitions from the soloists to the choir went well except for the disjointed exchange from Jonathan Woody’s singing of “Why do the nations so furiously rage together” to the chorus’ “Let us break their bonds asunder.” It was also impossible for the chorus to create explosive fortes, for example in the last lines of “Lift up your heads” and “Since by man came death.”

Tenor Miles Mykkanen stood out for his clarion voice, diction, and dynamic ability to reach into the furthest corners of the hall. Soprano Yulia Van Doren sang gorgeously – with some very creative ornamentation – but she left off the ending consonants of her words. Mezzo-Soprano Gina Perregrino had much success with the upper range of her arias but lacked power in the lower portion. Bass-Baritone Jonathan Woody delivered his arias forcefully but could not be heard as well in the deepest passages.

It is terrific that Danzmayr is trying out new ideas, especially in finding out what works and what doesn’t work with the new sound system. And I have nothing against setting a quick pace through a famous oratorio that can become weighty and sag, but a slightly slower tempo would have gone a long way in making this “Messiah” more enjoyable.