Messiah
The Opening Concert of a Megaproject
Händel
Meri Metsomäki, Linnéa Sundfær Casserly and Wilhelmína Tómasdóttir, soprano
David Hackston, Essi Lind and Iris Oja, alto
Martti Anttila, Niilo Erkkilä and Mats Lillhannus, tenor
Juha-Pekka Mitjonen and Veikko Vallinoja, bass
Helsinki Chamber Choir
Finnish Baroque Orchestra
Nils Schweckendiek / George Parris (Kajaani), conductor
Local choirs in the part Hallelujah:
Kajaani: Kaukametsä Chamber Choir (training Juha Mikkonen)
Hämeenlinna: Vanaja Chamber Choir (training Ismo Savimäki)
Kirkkonummi: Kirkkonummi Chamber Choir (training Jussi Linnanmäki)
First violin: Anthony Marini (cm), Irma Niskanen, Dora Asterstad, Kaisa Ruotsalainen
Second violin: Minna Kangas (prin.), Juha-Pekka Koivisto, Anssi Koskela, Viola Räisänen
Alttoviulu: Tuula Riisalo (prin.), Laura Kajander, Markus Sarantola
Cello: Jussi Seppänen (prin.), Louna Hosia
Double bass: Petri Ainali
Harpsichord and organ: Marianna Henriksson
Oboe: Piia Maunula, Katariina Malmberg
Bassoon: Jani Sunnarborg
First trumpet: Inka Pärssinen (Varkaus, Kajaani), Eero Kiukkonen (Hämeenlinna, Kirkkonummi, Helsinki)
Second trumpet: Hanna Pajalahti
Timpani: Peter Fodor (Varkaus, Kajaani), Tuija-Maija Nurminen (Hämeenlinna, Kirkkonummi, Helsinki)
cm = concertmaster
prin. = principal
Messiah (1741) by Georg Friedrich Händel is one of the most beloved oratorios in the world. Between the death of the composer and the beginning of the 20th century, this work was largely responsible for the general public’s impression of Händel. The glorious choir movements and the colourful arias of Messiah paint a unique picture of the conquering of suffering, the fulfilment of prophecies and the religious mystery. It is an entertaining celebration of different Baroque music styles as well as vocal music.
Händel composed his oratorio in London before he traveled to Dublin in early 1742. The Italian operas were now behind him, and with his oratorios Händel could reach large audiences without the challenges that came with stage productions. At his disposal, the composer had a libretto from 1739 by the art-loving landowner Charles Jennens. The libretto does not directly recount the events of the New Testament nor does it create dramatical scenes, but is rather a collection of texts containing prophecies of the Saviour born as man and discussions about his significance. The libretto is mostly based on the Old Testament.
Messiah was well received in Dublin, but in Covent Garden in London in 1743 the audience was more reserved. For instance, one of the critics pondered whether the theatre really was well suited as a temple and the Biblical texts as entertainment. However, from 1749 onwards Messiah finally became a yearly source of delight for the audiences in London.
The work was originally intended for Lent and it emphasizes the Passion, but it contains the whole gamut of human emotions. With his masterly command of the musical means, Händel creates the dramatic scenes that are missing in the libretto and draws a picture of a main character that never enters the scene.
Duration: 3 h (Varkaus, Kajaani, Hämeenlinna and Kirkkonummi, incl. 2 intermissions), 3 h 30 min (Helsinki, incl. 2 intermissions)
There is an open preconcert talk in Helsinki on 15th December in the main foyer of the Music Centre by the café from 3 pm to 3.30 pm.
The concerts are part of the project Near (Lähelle), supported by the Finnish Cultural Foundation. The project continues until 2026 and aims to support the national accessibility of culture by bringing performances by a professional Baroque orchestra and a professional chamber choir to regions where such performances are rare. In addition to their home city Helsinki, the Finnish Baroque Orchestra (FiBO) and Helsinki Chamber Choir (HKK) perform together with locals in regions chosen for the projects. Apart from the performance in Helsinki, local singers will take part in the Messiah concerts. You can read more about the project Near in the FiBO blog.