Handel’s Messiah with The Sixteen: a must-have on your Christmas to-do list
If you’re pulling together your festive to-do list — carol singing, sipping mulled wine, wandering a Christmas market — let me add one unmissable experience: Handel’s Messiah at St Martin-in-the-Fields. I think there’s nothing quite like the majesty of Handel’s music performed in this elegant space. This grand venue and the timeless brilliance of the score combine to create an evening that feels both celebratory and sublime.
Handel’s Messiah is one of the most enduring pieces of music ever written, and for good reason. Its mix of drama, emotion, and celebration is unparalleled. From the thunderous Hallelujah chorus to the tender I Know That My Redeemer Liveth, every moment feels profound. The text, drawn from scripture, is a meditation on faith, hope, and redemption, and Handel’s genius lies in his ability to make these themes resonate so universally through music.
The Sixteen, led by their founder and conductor Harry Christophers, delivered a performance of Messiah that was spectacular. Despite Handel originally envisioning the piece for a much larger choir, The Sixteen’s intimate ensemble proved that size isn’t everything. Their precision, clarity, and perfectly timed polyphony made for a performance that felt magic. Each line of the text was crystal clear, allowing Handel’s intricate harmonies to shine through with an almost ethereal quality.
The accompanying orchestra, also part of The Sixteen, was equally remarkable, particularly given the added challenge and authenticity of performing on period instruments. Under Christophers’ expert direction, they played with sensitivity and energy, complementing the choir to perfection. Christophers, who founded The Sixteen over four decades ago, has built an ensemble where the bond between conductor, singers, and players is evident. Watching them work together felt like witnessing a family gathering, with moments of joy reflected in the subtle smiles exchanged among the performers.
The soloists added another layer of brilliance to the performance. Jessica Cale’s soprano was radiant, her voice soaring effortlessly in Rejoice Greatly, O Daughter of Zion. She brought a lightness and joy to the music that felt perfect for the season. Catherine Wyn-Rogers’ alto had a richness that lent depth to pieces like He Was Despised. Her delivery was moving, capturing the sorrow and humanity in Handel’s score. Gwilym Bowen’s tenor brought clarity and warmth to every note, particularly in Ev’ry Valley Shall Be Exalted. Bass Henry Waddington provided a commanding presence, his voice resonating powerfully in The Trumpet Shall Sound. Together, the four soloists formed a quartet that perfectly balanced elegance and emotion.
One of the most remarkable moments of the evening came when a phone rang in the audience. It was one of those dreaded interruptions, but The Sixteen handled it with grace. Christophers paused, allowing the phone to ring out in perfect stillness, and then calmly restarted the piece as if nothing had happened. The composure and professionalism of the ensemble were a testament to their experience and dedication.As the last notes of Messiah filled St Martin-in-the-Fields, I was left in awe of such an unforgettable evening. The Sixteen’s performance was proof of why Handel’s masterpiece stands the test of time—it moves you, lifts you up, and brings everyone together. If you can, add Messiah with The Sixteen to your holiday plans—it’s a festive experience you won’t want to miss!