{"id":110456,"date":"2024-12-19T13:56:44","date_gmt":"2024-12-19T18:56:44","guid":{"rendered":"https:\/\/www.ludwig-van.com\/toronto\/?p=110456"},"modified":"2024-12-20T07:00:03","modified_gmt":"2024-12-20T12:00:03","slug":"scrutiny-jean-sebastien-vallee-conducts-adventurous-not-missed-messiah","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2024\/12\/19\/scrutiny-jean-sebastien-vallee-conducts-adventurous-not-missed-messiah\/","title":{"rendered":"SCRUTINY | Jean-S\u00e9bastien Vall\u00e9e Conducts An Adventurous, Not-To-Be Missed Messiah"},"content":{"rendered":"
\"Jean-S\u00e9bastien
Jean-S\u00e9bastien Vall\u00e9e leads the Toronto Symphony Orchestra & Toronto Mendelssohn Choir and soloists\u00a0in Handel\u2019s Messiah (Photo: Jae Yang)<\/figcaption><\/figure>\n

Toronto Symphony Orchestra\/Messiah by George Frideric Handel, conducted by Jean-S\u00e9bastien Vall\u00e9e, featuring the Toronto Mendelssohn Choir, Roy Thomson Hall, runs until Dec. 22. Tickets here<\/a>.\u00a0<\/strong><\/em><\/p>\n

Since becoming artistic director of the Toronto Mendelssohn Choir in 2021, Jean-S\u00e9bastien Vall\u00e9e has excited my interest because of his inventive programming. Thus, when it was announced that he would be conducting Messiah for the Toronto Symphony Orchestra, the question was, would he bring his auteur style to this hallowed oratorio?<\/p>\n

The answer is a resounding yes. The performance captivated the audience, who rewarded Vall\u00e9e and his forces with a rapturous reception.<\/p>\n

Some of the things Vall\u00e9e implemented were not necessarily new, while others were a genuine surprise. Nonetheless, taken as a whole cloth, this performance of Messiah felt not only fresh, but downright adventurous.<\/p>\n

\"Jean-S\u00e9bastien
Jean-S\u00e9bastien Vall\u00e9e leads the Toronto Symphony Orchestra & Toronto Mendelssohn Choir in Handel\u2019s Messiah (Photo: Jae Yang)<\/figcaption><\/figure>\n

The General Layout of the Performance<\/h3>\n

The TMChoir was not in the loft, but on bleachers behind the orchestra which allowed for a compressed blast of sound. The four soloists were also tucked behind the TSO, which was a very clever move. That meant that the tenor, who sings only at the beginning of Part One, could hide away, as could the soprano, who only sings at the end.<\/p>\n

This also meant that the soloists had to walk around the orchestra to come to the front of the stage which really focused attention on them. They had memorized their parts, so they were not carrying scores. Thus, their bodies were free to react to what they were singing, which made this performance semi-operatic \u2013 not quite full physical expression, but certainly much more than the usual concert stance.<\/p>\n

How they walked in, and walked away after they had sung also reflected their text. They were characters in a play, with their exits and entrances.<\/p>\n

Innovations<\/h3>\n

My first clue that this was going to be a different Messiah came with American tenor James Ley<\/strong> after the overture. In his recitative and air, he tossed off unusually florid ornamentation \u2014 much more than is custom \u2014 but it was designed to emphasize the meaning of the words. The slow \u201cComfort ye\u201d has never sounded more passionate, while the faster \u201cEv\u2019ry valley\u201d more exciting.<\/p>\n

This is risky business for a staid oratorio. It was as if Vall\u00e9e had acted as a stage director, overseeing how his singers walked into the set, so to speak, and detailing how the text would be rendered. In short, this was a performance that told a dramatic story.<\/p>\n

Charles Jennens\u2019 libretto sprang to life, and the words seemingly exploded with meaning. You could clearly see how the text had inspired Handel\u2019s music.<\/p>\n

And so it continued throughout the evening, with each soloist adding to the drama. Each repeat of the verses, as is custom in Baroque arias, contained new ornamentation for emphasis.<\/p>\n

The marvellous TMChoir was just as detailed in the dynamics of their words, particularly how the part singing played against each other. They were also so disciplined that they could stop on a dime.<\/p>\n

Vall\u00e9e\u2019s conducting reflected the same careful attention to how the music worked with the text, where he built up tension, where he softened the mood, where he elongated a pause. Part One had a joyous air, in contrast to the darker Part Two, and the fervent Part Three. Clearly, Vall\u00e9e is as strong an orchestral conductor as he is a choral director.<\/p>\n

This was a Messiah with a theatrical flair, and it was thrilling to experience.<\/p>\n

Then there was the treble \u2014 young William Mar<\/strong> from St. Michael\u2019s Choir School \u2014 that\u2019s right, a treble, which was a Vall\u00e9e innovation.<\/p>\n

The stage door opened, and out he came in his school uniform. With his sweet piping voice, he told us, \u201cThere were shepherds abiding in the field\u201d.<\/p>\n

India-born soprano Sherezade Panthaki<\/strong> then sang about the arrival of the angel of the Lord, to which Mar told the shepherds what the angel said, \u201cI bring you good tidings\u201d, followed by the recitative which led into the choir\u2019s rousing rendition of \u201cGlory to God in the highest\u201d.<\/p>\n

Inserting a treble certainly was a departure, and it worked. Young Mister Mar was a voice of innocence, reflecting the simplicity of the shepherds. Perhaps even more so, the treble voice has an ethereal, other worldly quality which conveyed \u201cthe heav\u2019nly Host\u201d.<\/p>\n

\"Jean-S\u00e9bastien
Jean-S\u00e9bastien Vall\u00e9e leads the Toronto Symphony Orchestra & Toronto Mendelssohn Choir and soloists\u00a0in Handel\u2019s Messiah (Photo: Jae Yang)<\/figcaption><\/figure>\n

The Singers<\/h3>\n

It is important to note that Vall\u00e9e hand-picked the soloists, all of whom were making their TSO debuts, and each one brought something special to the storytelling.<\/p>\n

The aforementioned Ley was dramatic while Panthaki brought the sweetness. Canadian countertenor Nicholas Burns<\/strong> was reflective, while Filipino-American bass-baritone Enrico Lagasca<\/strong> was commanding.<\/p>\n

All were extremely expressive in their delivery and, more importantly, they could negotiate through the demanding ornamentation which Vall\u00e9e, presumably, had dictated.<\/p>\n

Ley has the bright clear voice one wants in an early music tenor, but there is an interesting hint of darkness. There is also almost a wildness to his singing, as odd as that may sound, which makes him an exciting performer. He was the most operatic of the four, and his bio, not surprisingly, lists an extensive list of opera performances. I would love to see Ley in an opera.<\/p>\n

Panthaki has a delectable, feathery soprano voice which is blessed with an ease of florid coloratura. For example, she could not cram one more trill into her rendering of \u201cRejoice greatly\u201d if she tried. In short, her impressive ornamentation seemed absolutely effortless. There is no shrillness in her voice, only a purity of sound. Her diction was the weakest of the four, but, somehow, that didn\u2019t matter.<\/p>\n

Having a countertenor instead of a mezzo-soprano reminded us of Handel\u2019s own time, an echo of the past which was an interesting choice on the part of Vall\u00e9e.<\/p>\n

Burns is certainly a major talent on the rise. He has a beautiful voice with a subtle expressive quality. There is an even tone throughout, and his delivery of text is thoughtful.<\/p>\n

As a storyteller, he was more introspective than his colleagues, but he could show passion when needed, such as literally singspiel the words, \u201cshame and spitting\u201d. When he barked them out, he caught us by surprise. Overall, we needed Burns\u2019 restraint in contrast to his more showy colleagues.<\/p>\n

From the very first-time bass-baritone Lagasca opened his mouth, it was a force of nature. Hearty is too light a word to describe his ringing commanding tone. His low notes are in his toes, while he also displayed a surprising high register as well. He whipped through \u201cWhy do the nations so furiously rage together\u201d at whirlwind speed, and when he sang \u201cI will shake the heav\u2019ns\u2026\u201d, you knew he meant business.<\/p>\n

Lagasca is a very charismatic performer who certainly demands attention.<\/p>\n

When the four soloists are taken together, they make a very diverse collection of storytellers, and it was these very individual differences which added to the drama of the text.<\/p>\n

\"The
The Toronto Mendelssohn Choir sings Handel\u2019s Messiah with the Toronto Symphony Orchestra (Photo: Jae Yang)<\/figcaption><\/figure>\n

The Choir and the Orchestra<\/h3>\n

We can\u2019t leave without applauding the TMChoir who were simply sensational. What Vall\u00e9e has done with these singers is remarkable \u2013 the evenness of tone, their ability to play with sound, the dynamics that infuse their music-making.<\/p>\n

We have only to look at the chorus \u201cLift up your heads, O ye gates\u201d. The beginning has the women singing first, and then the men, and back to the women, and so forth. The two sides were absolutely matched in output \u2014 the women and the men were of the same strength. It was perfection to the ear.<\/p>\n

In another Vall\u00e9e-ism, they also got to perform a surprising little trill at the end of \u201cHis yoke is easy\u201d.<\/p>\n

The choir was simply brilliant in the Hallelujah Chorus, giving us the pure joy of it, but even more impressive was the final chorus \u201cWorthy is the Lamb\u201d and the \u201cAmen\u201d.<\/p>\n

The build, the tension, the drama \u2014 Vall\u00e9e led his forces up and up in sound until the final \u201cAmen\u201d rang through the hall in glorious splendour.<\/p>\n

There was one other innovation. I have never noticed the timpani that precedes the Hallelujah Chorus, but there they were, three or four loud, commanding drum beats before the choir began to sing. It was like a grand announcement. The timpani also gave a loud crash during the final chorus which actually made me jump, but it sure added colour.<\/p>\n

\"Jean-S\u00e9bastien
Jean-S\u00e9bastien Vall\u00e9e leads the Toronto Symphony Orchestra & Toronto Mendelssohn Choir and soloists\u00a0in Handel\u2019s Messiah (Photo: Jae Yang)<\/figcaption><\/figure>\n

The TSO<\/h3>\n

As for the TSO, they seemed to be detailed like the soloists and the choir, and so they produced very interesting dynamics in the instrumental component of the evening. The musicians rose to the occasion and performed the demands Vall\u00e9e placed on them with aplomb.<\/p>\n

Special kudos to Associate Concertmaster Clare Semes<\/strong> for her beautiful violin solo in \u201cIf God be for us\u201d and Associate Principal Steven Woomert<\/strong> for sounding the trumpet in commanding fashion.<\/p>\n

A word to the wise: this TSO\/TMChoir Messiah as envisioned by Vall\u00e9e is not to be missed.<\/p>\n

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This performance of Messiah, conducted by Jean-S\u00e9bastien Vall\u00e9e with the Toronto Symphony Orchestra and Toronto Mendelssohn Choir, felt fresh and adventurous.<\/p>\n","protected":false},"author":73,"featured_media":110460,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"jetpack_post_was_ever_published":false},"categories":[40967,11,19,41221,52,63],"tags":[30643,3360],"yst_prominent_words":[10136,30639,6929,6615,6613,11118,6826,14421,6741,6930,6914,6827,6825,30641,9958],"acf":[],"jetpack_featured_media_url":"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2024\/12\/Copy-of-REVIEW-2024-12-19T134932.242.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9bakr-sJy","amp_enabled":true,"_links":{"self":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts\/110456"}],"collection":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/users\/73"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/comments?post=110456"}],"version-history":[{"count":9,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts\/110456\/revisions"}],"predecessor-version":[{"id":110496,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts\/110456\/revisions\/110496"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/media\/110460"}],"wp:attachment":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/media?parent=110456"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/categories?post=110456"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/tags?post=110456"},{"taxonomy":"yst_prominent_words","embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/yst_prominent_words?post=110456"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}