A Moment of Sublime Clarity: Handel’s Messiah

by Bryce Christensen

"Christmas can be a maze of commercialism if we let it,” the Protestant pastor David Jeremiah has remarked. “Instead, let's make it a moment of clarity in which we view our sometimes confusing and threatening world against the back drop of God's gift to us: the Prince of Peace who was announced by angels on that original 'midnight clear.’" For two marvelous evenings—December 11th and December 12th—all of the confusing distractions of commercialism gave way to the blessed clarity of sacred truth for those who gathered in Cedar City’s Heritage Center to share in the city’s 76th production of the Handel’s Messiah, performed by the Orchestra of Southern Utah (OSU) and the Southern Utah Chorale (SUC).  As the latest installment in OSU’s Legacy ’16-’17 Season--devoted to commemorating the diverse legacies that inspire and sustain symphonic music--this performance tapped into what is surely the deepest legacy of all: the “Sacred Legacy” of faith and worship.

Indeed, in his welcoming remarks, OSU President Harold Shirley promised the capacity audience that they would hear “musical testimony” of divine truth, drawn from Scripture, set to music through the creative genius of George Frideric Handel, and performed by a talented ensemble of local musicians, instrumental and vocal.  But before leaving the stage so the performance could begin, Shirley honored long-time OSU member June Thorley—a performer in 74 of Cedar City’s performances of the Messiah—by announcing the establishment of a special scholarship fund at Southern Utah University in Thorley’s name, in recognition of her singular contribution to orchestral music in the community.  In further recognition of Thorley’s exceptional personal contribution to Cedar City’s local legacy of music, Shirley ceremonially retired her violin bow.  

But even as OSU gratefully and appreciatively retired one of its longtime members, it welcomed back its much-loved director and conductor, Xun Sun, returning from a sabbatical absence to take up the baton for a composition he has repeatedly conducted with great fervor in the past.  And Sun was in keen form for this year’s rendition of Handel’s masterpiece, his consummate musicianship evident when the orchestra commanded the spotlight (in the majestic opening Overture and the more tranquil Pastoral Symphony), when the orchestra sensitively accompanied soloists, and finally when the orchestra fused its entire musical resources with those of the Chorale in the irresistible choral selections.  Sun’s inspiring personal investment in this number was especially manifest in his dynamic conducting of “For Unto Us a Child Is Born,” a thrilling outpouring of soulful ecstasy.  

Though down a bit in size from last year, the Chorale lived up to the expectations that had filled the concert hall, delivering powerful collective renditions of well-known numbers essential to this holy-day observance—including the exultant “And the Glory of the Lord,” the empyreal “Glory to God,” the awe-instilling “Behold the Lamb of God,” the bracingly muscular “Since by Man Came Death,” and finally the stirringly reverential “Worthy Is the Lamb That Was Slain.”  Those gathered for the concert rejoiced to hear these familiar numbers, but also welcomed the opportunity to hear one choral selection—“Their Sound Is Gone Out”--often passed over in the now-standard abridged performance format for this very long oratorio.

Despite the reduction in the overall size of the choir, the number of soloists performing in this year’s Messiah remained steady at ten, through the number of male soloists dropped to just three.  The female soloists swelled slightly in number to compensate for the drop in the number of male soloists and were truly dazzlingly in their virtuosity.  Listeners noted with great pleasure that the soloists included some impressive new voices who promise to delight audiences for years to come.  

On the male side, tenor Mark O. Leavitt delivered the recitative “Comfort Ye My People” with tender grace before transitioning to the more strenuous air “Every Valley Shall Be Exalted.”

As the second male soloist, bass Jay Merryweather gave sinewy strength to the recitative “Thus Saith the Lord” and authoritative firmness to “But Who May Abide the Day of His Coming? ”

As the final male soloist, bass Jason Clark plumbed profound spiritual depths in his recitative “Behold, I Tell You a Mystery” before galvanizing his voice in the clarion notes of “The Trumpet Shall Sound.” Joining Clark on this number, instrumentalist Adam Lambert made the radiant brilliance of his trumpet the perfect complement to Clark’s deep tones.

As the first of the female soloists, Ashley Stoddard Carlile performed the recitative “Behold! A Virgin Shall Conceive” with a voice of liquid gold, mesmerizingly luminous, that voice then swelling to a joyous effusion in “O Thou That Tellest.”

“There Were Shepherds Abiding in the Field” became an irruption of the miraculous in the penetratingly beautiful soprano voice of Brandi Hall, who kept her listeners suspended in heavenly heights for “And the Angel Said Unto Them.”

Listeners found celestial comfort in the measures of “He Shall Feed His Flock Like a Shepherd,’ perfectly modulated in the alto voice of Rylee Dalton, and then felt the enticings of divine concern in the searchingly compassionate voice of soprano Leslie Perkins’ “Come Unto Me.”

Alto Kalina Stokes interpreted “He Was Despised” with poignant pathos born of heart-rending sorrow at the price Christ paid to redeem a fallen human race.

Conveying a dramatically contrasting mood, Terri Metcalf-Peterson overflowed with transcendent gratitude in “How Beautiful Are the Feet,” her soprano voice vibrant with exalted astonishment at the good news the Lord’s evangelists bring.

And with the supernal conviction of “I Know That My Redeemer Liveth,” Debra Stillman made her marvelous soprano voice a conduit for the holy hope that links Christmas with Easter.  

SUC Director Jackie Riddle-Jackson deserves high praise for preparing the Chorale and the soloists to meet the diverse and daunting challenges presented by this multifaceted number, and to do so in seamless harmony with the orchestra.  

Director Xun Sun and all the musicians who performed beneath his baton likewise merit such praise for coming together in such a wonderfully memorable reunion of conductor and orchestra.

The executives of the State Bank of Southern Utah and the Leavitt group likewise deserve praise for sponsoring this event, so showing that some enlightened leaders of commerce still know how to help the entire community find its way out of “the maze of commercialism” during this season of the year.