Haendel Le Messie

Concert in English with French surtitles

Synopsis

In Christian theology, the Messiah is the saviour of humankind. The Messiah (Māšîaḥ) is an Old Testament Hebrew word meaning "the Anointed One", which in New Testament Greek is Christ, a title given to Jesus of Nazareth, known by his followers as "Jesus Christ". Handel's Messiah has been described by the early-music scholar Richard Luckett as "a commentary on [Jesus Christ's] Nativity, Passion, Resurrection and Ascension", beginning with God's promises as spoken by the prophets and ending with Christ's glorification in heaven. In contrast with most of Handel's oratorios, the singers in Messiah do not assume dramatic roles; there is no single, dominant narrative voice; and very little use is made of quoted speech. In his libretto, Jennens's intention was not to dramatise the life and teachings of Jesus, but to acclaim the "Mysteryof Godliness", using a compilation of extracts from the Authorized (King James) Version of the Bible, and from the Psalms included in the 1662 Book of Common Prayer.

The three-part structure of the work approximates to that of Handel's three-act operas, with the "parts" subdivided by Jennens into "scenes". Each scene is a collection of individual numbers or "movements" which take the form of recitatives, arias and choruses. There are two instrumental numbers, the opening Sinfony in the style of a French overture, and the pastoral Pifa, often called the "pastoral symphony", at the mid-point of Part I.

In Part I, the Messiah's coming and the virgin birth are predicted by the Old Testament prophets. The annunciation to the shepherds of the birth of the Christ is represented in the words of Luke's gospel. Part II covers Christ's passion and his death, his resurrection and ascension, the first spreading of the gospel through the world, and a definitive statement of God's glory summarised in the Hallelujah. Part III begins with the promise of redemption, followed by a prediction of the day of judgment and the "general resurrection", ending with the final victory over sin and death and the acclamation of Christ. According to the musicologist Donald Burrows, much of the text is so allusive as to be largely incomprehensible to those ignorant of the biblical accounts. For the benefit of his audiences Jennens printed and issued a pamphlet explaining the reasons for his choices of scriptural selections.

Program and cast

VIP CATEGORY: Best seats in house with complimentary glass of champagne and programme.

PRESTIGE CATEGORY: Excellent seats with complimentary glass of champagne and programme.

Marie Lys: Soprano

Nicolò Balducci: Countertenor

Rémy Burnens: Tenor

Halidou Nombre* Barytone

*Member of the Académie de l'Opéra Royal

Chœur de l’Opéra Royal

Orchestre de l’Opéra Royal

Under the patronage of Aline Foriel-Destezet

Gaétan Jarry:  Conductor