Israel in Egypt

NEW YORK CITY

Kent Tritle & Musica Sacra

2/23/11

Handel’s Israel in Egypt shares several characteristics with his ubiquitous masterpiece Messiah: both works are Biblical oratorios in English, scored for chorus and soloists. However, while Messiah features numerous star solo turns that contrast sharply with the choral movements, Israel in Egypt finds the role of the soloists drastically reduced, with extended stretches of choral singing the norm. Handel compensated for this focal shift in the latter work by substantially varying the choral writing in both mood and texture; the choruses based on the Plagues of Egypt are particularly vivid in this regard, as they successfully strive to create distinct “pictures” of the plagues through purely musical means. Because of the substantial demands made of the choral forces, however, a performance of the work cannot be truly satisfying without a superb chorus to sing it.

Musica Sacra’s February 23 presentation of Israel in Egypt at Carnegie Hall was given in two parts (Handel’s original version consisted of three parts), preceded by the overture from Handel’s Solomon. The thirty-two-voice chorus produced a polished, even sound across its four/eight parts (many of the choruses are scored for double choir), with tight ensemble and crisp diction. Highlights included a deliciously playful realization of the plague of flies and lice; still, glassy vocalism depicting darkness covering the land; and the aurally convincing drowning of Pharaoh’s army in the Red Sea. The rapid-fire choral coloratura in the final movement was exemplary in its speed, accuracy and synchronicity. One downside throughout the performance, however, was the somewhat underpowered soprano section. Though ethereal in the often stratospherically high tessitura and beautifully blended as a group, these ten ladies were unable to produce an adequately powerful sound for the work’s climactic moments. This deficiency was also noticeable in long phrases with held notes, when the section often maxed out too soon in volume, with no reserve for further crescendo.

The evening’s six soloists were strong overall. Soprano Leslie Fagan sang effortlessly, with clear, shimmering tone, while chorus member Kathryn Lewek — filling in on short notice for ailing soprano Jamet Pittman — added her round, sensuous voice to Fagan’s in a gorgeous duet, the two voices blending together ideally in both color and artistry. Also first-rate in an extensive duet was bass Kevin Deas, who possesses a beautifully even and controlled voice of velvety richness. Partnering him was baritone Tyler Duncan, singing vigorously but perhaps a bit too much so; his sound occasionally lost its resonance and flattened out. Deep-voiced mezzo-soprano Charlotte Daw Paulsen seemed challenged by her relentlessly low-lying music; her timbre took on a rather murky quality as it attempted to fill Carnegie’s expanse in such a low range. Light-voiced tenor Oliver Mercer looked apprehensive and uncomfortable onstage; his singing lacked both authority in the narrative recitatives and vocal depth in the tenor aria.

Kent Tritle conducted energetically, with clear, often poetic gestures, but there were times when he seemed to be asking for more volume than the modest-sized chorus could provide. The orchestra’s spirited, fine-tuned playing was first-rate. 

DEREK GRETEN-HARRISON