We’re very pleased to announce that we’ve added a concert entitled Mildly Rude? to our 2013/2014 Southbank Centre season. Rounding off our Gamechangers series, it’s a opportunity to hear music from one of Britain’s unsung classical heroes, William Boyce.Read More
Our Principal Double Bassist, Chi-Chi Nwanoku MBE, took some footage when our Messiah Tour took us all the way to Moscow, Russia, for our first ever performance there.Read More
The Orchestra are currently on a festive tour- taking Handel’s Messiah to Las Palmas, Alicante and Moscow with director and OAE Principal Keyboard player, Robert Howarth.Read More
We finished our last concert of 2012 with a suitably festive performance of Messiah at the Royal Festival Hall on 11 December.
Afterwards, we chatted to some of the audience to find out what they thought of the concert. Here’s what they had to say- including rocking basses, lifts and a bit of good old-fashioned Christmas spirit…
We also had some press reviews:
And here’s what you said via the wonders of social media.
For all upcoming concerts, visit our What’s On pages.Read More
Music critic Andrew Mellor popped into the office last week and told us about his favourite moments in Messiah and why it’ll ‘grab you by the scruff of the neck’, before our performance of Handel’s festive oratorio tomorrow at the Royal Festival Hall, Southbank Centre.
Here’s what he had to say…Read More
With Messiah about to return to the Royal Festival Hall on Tuesday, we pulled Bass-Baritone Matthew Brook out of rehearsals long enough for some short and sharp questions.Read More
As we return to Royal Festival Hall for Messiah on Tuesday 11 December, director Robert Howarth talks about what the OAE will bring to Handel’s epic masterpiece.Read More
Messiah has long fascinated those musicians who peer into musical history, largely because it healthily challenges most of our preconceived notions of ‘faithfulness to the score’ and ‘authenticity’. What, for example, is the right way to perform an ‘authentic’ Messiah? The way Handel performed it in Dublin or London? After all, there must have been striking differences in content and execution even between these chronologically close performances.
With that proviso, it’s fascinating to examine just how far Handel’s score was massaged after its initial airing. Even during the composer’s lifetime the work started to become popular with large choruses, the accompanying orchestra slowly enlarging so as not to be drowned out. In 1784 a performance was arranged in Westminster Abbey to mark 25 years since Handel’s death with a combined army of over 275 singers and 250 instrumentalists. The latter beat on three timpani and blew down six trombones, twelve horns and twelve trumpets – most of them phantom parts that Handel never wrote.
Five years after that Mozart had a go at ‘retouching’ Messiah, adding parts for flutes, clarinets, trombones and horns. And he couldn’t have claimed he needed more power in the band to balance a large chorus, because the performance in question involved a choir of only twelve!
By 1857 London had grown out of Messiahs involving piddling little orchestras in the 200s, and mounted a performance of the work at the Crystal Palace with an orchestra of 500 and a chorus that weighed in at over 2,000. A decade later those figures were spinning even further out of control, with an impatient George Bernard Shaw begging, prophetically, that a performance in a medium-sized hall be given with ‘a capable chorus of twenty singers’ so that he could ‘hear the work properly just once’ before he died. A century on, however, the supersize Messiah wasn’t extinct. Malcolm Sargent’s 1959 EMI recording of the work from Liverpool sounds magnificent with symphonic strings and warming horns, but it was probably a dying breed. These days Messiah is almost universally downsized. Do the benefits of clarity and focus outweigh those of grandeur and mass-involvement? Now there’s a subject for vigorous debate.
We’ll be performing Handel’s grand oratorio at the Royal Festival Hall on 11 December (sorry, we can’t quite fit 2000 singers into the hall…)
And thanks to Andrew Mellor for this great article.Read More
In the lead up to Messiah on 11 December, we fired some quick questions at director Robert Howarth.Read More
As acclaimed soprano Julia Doyle prepares for her performance in Handel’s celebrated Messiah on 11 December, she took some time out to tell us a bit about her pre-concert superstitions and some of her musical heroes.Read More
Here’s a clip we posted online on Facebook a little while back but it’s only just made it onto our website, we’ve had such a backlog of things to blog about! Anyway, it’s some rather rough and ready footage from the rehearsal of Handel’s Messiah, which we performed at the Royal Festival Hall a few weeks ago, which which we recently also took to Utrecht. We hope you’ll excuse the rather basic camerawork – oh and yes, the Trumpet player IS allowed to be reading the paper, he’s probably not got anything to play for a while!
If you live in Paris there’s still a chance to catch our Messiah as we perform it there on Thursday 23 December.Read More
Here’s a brief round-up of reviews. First up, two from our concert of Abel, Arne, J C bach and Haydn, with violinist Rachel Podger, 1700s London and the Fab Four.
Edward Seckerson Blog
And here’s some from our Messiah directed by Laurence Cummings, including a less than complimentary one in the Financial Times. As ever, we’d love to know what you thought too.
The Times (subscribers only)
Audience Member blog
In our latest video we talk to director Laurence Cummings about Handel’s Messiah which we perform in London on 6 December and also on tour. Laurence tells us why it’s such a special piece and what this performance will bring to it, and we also have a lot of fun taking the balloon concept of the Messiah postcard to whole new lengths…
Charles Jennens portrait © The Handel House Trust Ltd.Read More