The Belfast Philharmonic Choir's annual performances of Messiah are a longstanding local tradition, and for many people they are an essential part of the Christmas season. The only recent change is that the traditional three performances in the Ulster Hall have been replaced by two performances in the more capacious Waterfront Hall.
Routine is still the enemy for players and singers alike. Nicholas Kraemer's authentic approach has long been standard for the Ulster Orchestra, and it was all neatly played, with lively and sensible tempi. There were humane touches too in Comfort Ye and the Pifa, but the overall effect was also a bit cut and dried, and it was surprising to hear some lapses in string intonation. There was also no hiding the frayed edges in the choral singing.
The main element of novelty in these performances comes from the soloists. Soprano Sophie Daneman sang the first part in spite of evident indisposition before having to withdraw, so this otherwise complete performance lacked I know that my redeemer liveth, among other things. Tenor John Bowen was sensitive in the quieter numbers, such as Comfort ye and Thy rebuke hath broken his heart, but was strained elsewhere. But Christopher Purves's robust bass was admirably steady in Thus saith the Lord and Why do the nations, and counter-tenor Robin Blaze was memorable in He was despised, sung with strong tone, pure style.
