Messiah of clarity

Sometimes it takes some time away from home to be able to see things clearly again.  That’s rather how I felt about last night’s Messiah performed by Tafelmusik at Koerner Hall.  In the last few years I’ve seen choreographed and fully staged versions, the Andrew Davis version with sleigh bells and whoopee cushions and Soundstreams eclectic Electric Messiah, all of which helped bring a conventional small scale performance with period instruments into focus.

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Guillaume Tell

Rossini’s last opera, Guillaume Tell, was written for Paris and is an extremely ambitious piece of great musical sophistication.  It’s also very long.  Performed uncut, a rarity, it runs something like four hours including ballets.  It’s also hard to cast with the role of Arnold Melcthal in particular making unusual demands.  It’s a high tenor role combining the flexibility needs of a typical Rossini role with something much more heroic.  The soprano role of Mathilde has some of the same issues; signature Rossini coloratura is combined with the sort of dramatic heft one might more associate with early Wagner.

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