Harry Christophers discusses Messiah

Conductor Harry Christophers discusses his upcoming performances of Handel's Messiah with the Handel and Haydn Society Chorus and Period-Instrument Orchestra in this new video. To learn more about this concert, visit our website.

Beethoven in Boston

From Brian Stuart, Associate Director of Marketing

If you ever wondered why Beethoven is the only composer with his name engraved in Symphony Hall, Friday night was your answer. Beethoven fans had an embarrassment of riches as we at the Handel and Haydn Society and our friends at the Boston Symphony Orchestra both performed Beethoven programs earlier today. Indeed, we both performed Beethoven's Third Piano Concerto! This did not go unnoticed at our concert and indeed we had more than a few people who took advantage of the chance to hear Beethoven on modern instruments with the BSO in the afternoon and then on period-instruments with Handel and Haydn Society in the evening. Its an unusual opportunity to see the differences and contrasts between modern and period-instruments with two world-class ensembles in the same day and in the same building. and its a testament to Boston's supportive classical music lovers that there were people intrepid enough to take in such a unique double-bill. Those I spoke with at our concert on Friday seemed really happy to have this chance and enjoyed both concerts.

I only heard our concert in the evening and was absolutely thrilled by everyone on stage. The conductor Grant Llewellyn brings so much life to Beethoven's music and its just great to see our orchestra so up to the task. Grant spoke about the athletic demands of the Seventh Symphony, and they were very much on display. They absolutely tore through the final movement and a heart-stopping pace. I know some people think of classical music as rather staid or sedate, especially the presumed esoterica of period-instruments, but you wouldn't think that after Friday's concert. Bravo to our players to being up to such a challenge and diving in with such vigor.

Bravo also to our fortepiano soloist, Kristian Bezuidenhout. This was his third time with Handel and Haydn and I certainly hope not the last. He's such a great interpreter of the classical repertoire and really quite eloquent about it. He stuck around after the concert to take questions from the stage and discussed his perspectives on performing Beethoven's Piano Concertos on the fortepiano and how it differs from the modern Steinway that the BSO used earlier in the day. (Indeed, it was still sitting backstage throughout the concert!) He made a great point about how the fortepiano Beethoven composed would have a much different dynamic balance that a modern piano would have with the orchestra. Rather than being capable of overpowering the orchestra, it really blends into it, often fighting for attention. This drama and struggle was on good display in Kristian's performance and you could really hear the interaction with the fortepiano and the orchestra. Special kudos to R. J. Regier of Maine who built the fortepiano used in these performances. Really a great instrument.

The players and staff of Handel and Haydn have had a very busy week and most of us get to rest up a bit on Saturday before the final performance on Beethoven. It should be just as much of a treat as the first, so I do hope you can make it out to Symphony Hall this Sunday at 3pm and take it in. If you can't make, you will still have a chance to hear the Seventh Symphony on WGBH, 89.7 on November 18.

More from Proms

Our blogger Katharine Emory shares this photo of her standing in front of Royal Albert Hall where she performed with the Handel and Haydn Society on Monday. And the reviews continue to come in...

"4 Stars ... Roger Norrington conducted his Boston-based Handel and Haydn Society ... in a dynamic performance."
-The Guardian

"There was a delectable lightness about the textures, much well-pointed atmospheric detail, and some excellent solo work."
-The Times

"The colouristic effects were in the best possible hands, with the Boston period band full of vim and vigour."
-The Independant

Performance and Party

From Katharine Emory, mezzo-soprano

Well, last night's concert was an amazing experience. We sang awfully well - especially given that we had had a full, 3-hour dress rehearsal that same morning! Royal Albert Hall is simply exquisite. The acoustics made it remarkably easy to sing the most intimate pianissimos and full-out fortes that reached to the back of the hall and then bounced right back.

The day was drizzly - the only less-than-beautiful day we've had. They were very strict with their security at the hall, checking everyone's performance pass prior to allowing us to get past the Stage Door. The chorus shared dressing rooms with the orchestra, something we're not used to, but had no problem with, by and large, as the rooms were of good size. We had to choreograph our entries and exits, given the logistical constraints of the hall. There were audience members behind us, as well as directly in front of the orchestra and soloists. It was more than a little stunning to see the folks in the center equivalent of what we call the "orchestra" section standing throughout the entire concert! Some brought folding or camping chairs; some actually sat or lay down to merely listen. But many stood for the duration of the concert, the lucky ones in front, leaning on a railing that barely separated them from the soloists and TV cameras.

TV? Yes! It turned out that not only was the BBC audiotaping the concert (you can stream it online until Sunday), but they filmed it for live television as well! If only we'd had TiVo in our hotel rooms!!! sigh. It was an odd sight indeed as the cameras moved about on tracks in front or were pointed at us by operators alongside the chorus. It added to the excitement level, if not adding an edge of danger in the process...

Sir Roger, having been very happy with the dress rehearsal, was strong and confident as he conducted the unfolding drama that opens with the orchestra, then adds soloists to the mix, and finally brings in the chorus with rich, robust color. Throughout the concert, with its array of creatures (fish, birds, frogs, etc.), romance (Hanne and Lukas), temperatures (from sultry heat to icy stillness), drinking and laboring - through it all, we held our own, loving the whole musical spectacle as it was happening. What a thrill!

The concert was over all too soon. As we exited the stage to get to the dressing rooms, we had to compete with patrons leaving from the same doorways. On our way down the stairs, Sir Roger congratulated us, looking happy but a tad weary. Laurence Cummings (who conducted last season's Messiah and Orfeo) was among the familiar faces congratulating us; he seemed most impressed and delighted with our performance. It was gratifying to get this kind of response from musicians who know our group.

Most of us scrambled to get all of our stuff together and find the way back to the buses for a rain-free ride to the hotel. Our wonderful new Executive Director exhorted us to come to the bar and PARTY in celebration of our achievements over the last few days. I first met up with my neighbors from New Jersey (who just happened to be in London at the "right time") and my husband. We went to The Queens Arms for my first indulgence of the trip - a pint of Guinness! I was ready - and it was perfect.

When we got kicked out of the pub, my neighbors went back to their daughter's home and Andy and I hopped in a taxi to join the party at the hotel. And WHAT a party! Handel and Haydn Society Board members joined in the celebration and we ate and drank and danced and talked very very late into the night. Well, actually, morning ... The general consensus was that this was an event we'd love to see repeated again and again. The camaraderie was tremendously strong among all the musicians, not just within the orchestra or chorus. This is a true ensemble that revels in making music together. Good music. Really good music! And why not bring that music to as many people as possible? Even if it means jumping continents?

Finally, the hotel bar did its best to close. It's hard to say that we were tired - performing like this is enlivening, even inspiring. But it had been a long day - and a short trip. It was hard to believe that things that happened the day before hadn't occurred a week before. Time had become elusive and our body clocks were no longer ticking. We divided up into little groups with long goodnights and lots of hugs. Some of us hung out in stairwells finishing conversations that didn't want to end. It was the very essence of afterglow.

Andy and I got to sleep around 4am! We slept through our last free breakfast and didn't make it out of the hotel until 11am. We're staying in London, unlike most (but by no means all) of the performers. We have much still to see and do - and we have the luxury of knowing we'll get to do it. Still we all crammed a lot into this short gem of a tour. It will live on in our memories for story-telling long after this blogsite gets taken down.

I can't sign off without thanking the Handel and Haydn Society staff, some of whom came to London to help make everything run so smoothly. Marie-Hélène Bernard, our Executive Director, was at every rehearsal and looked out for our well-being in a professional and caring way. What a joy to be able to get to know her as a musician, administrator, and just plain fascinating person and then party with her post-concert! I think she is developing an excellent sense of what our potential is as a premiere music ensemble - and who we are personally. Then there's Personnel Manager Jesse Levine, whom so many know and love as a trumpet player (who gets to show off his chops every Messiah in "The Trumpet Shall Sound"). Jesse does so much for us performers when he's wearing his administrative "hat," it simply cannot be described or defined. Suffice it to say that we treasure him and his hard work is deeply appreciated by player and singer alike. We also had very helpful behind-the-scenes assistance from Artistic Services Manager Michael Jendrysik, whose cheery demeanor meant a lot. Of course, back in Boston, everyone at Handel and Haydn helped prepare for this huge undertaking. Director of Marketing and Public Relations Gregg Sorenson set up the PR and Associate Marketing Director Brian Stuart manned the "blogstation" 24/7 it seems! Never having blogged before, I know my entries were ridiculously long (but hopefully not tedious!). Still, there was much to cover for any of those interested in what a tour like this is like from a performer's point of view.

Thanks for reading. Thanks for being interested in Handel and Haydn. And thanks for coming to our concerts - whether in London or Boston or where the future may take us!!! See you on the concert stage.

The Reviews are coming in!

The first reviews are in from Handel and Haydn Society's Proms debut!

"Conductor Roger Norrington and the high calibre Handel and Haydn Society of Boston gave the work an outstanding Proms performance, with crisp period instrument ensemble and top soloists in Sally Matthews, James Gilchrist and Jonathan Lemalu. The chorus sounded fresh and well drilled."
-The Evening Standard

"Haydn’s ingenuity was matched by the way Norrington identified the detail and spurred the period Handel and Haydn Society orchestra to reproduce it."
-Daily Telegraph

Proms Online

Congratulations to the musicians of our Chorus and Period-Instrument Orchestra who performed at the BBC Proms earlier today. If you missed the live online broadcast, it is archived here for 7 days. Look for "Prom 14: Monday 23 July, 7.00pm" for the Handel and Haydn Society performance of Haydn's The Seasons.

Back from Dress!

From Katharine Emory, mezzo-soprano

Just back from the dress rehearsal in the hall. And what a hall it is!!! Royal Albert Hall is the quintessential old world European concert hall - red velvet trim, box seats, columns, and archways all around. A dream to sing in! Today we could all hear each other clearly and the acoustic was very friendly to the singers in particular. The BBC had cameras everywhere in preparation for filming the concert tonight. Their staff was incredibly friendly and treated us with respect and humor.

I think this is the best hall I've ever sung in - it seats an incredible 5000, yet feels more intimate by far than Symphony Hall in Boston. In fact, the feel is more like Jordan Hall. Apparently, there will be people standing as well as sitting for the concert tonight, as the cheap seats are actually standing room! The BBC rep told us that the standing room areas are actually the best places to experience the concert acoustically, too.

So now, we're on break until the bus leaves the hotel at 5.30 this evening. Time to find some food and then relax before the concert!

A superb rehearsal

From Katharine Emory, mezzo-soprano

Well, no entry yesterday as the hotel ran out of internet access cards! We had a superb rehearsal at the Royal College of Music just behind the Royal Albert Hall. Acoustically things were a bit difficult - it felt muddy and we had trouble hearing. Still, everyone - orchestra and chorus - was on their game. Sir Roger seemed in a good mood indeed.

The soloists are incredible. Sally Matthews (Hanne) has a remarkably dark, sometimes dusky timbre to her voice. Yet it can soar and move with a sparkling agility when the music calls for it. Tenor James Gilchrist (Lukas) is a gift to the world of oratorio. (I hope that Handel and Haydn audiences remember his brilliant performance in the St. Matthew Passion a couple of years ago.) I am in awe of his ease with all aspects of the music and with his complete lack of pretension in everything that he does. His intelligence comes out through his musicality and the result brings the listener in - from intimately nuanced pianissimo to dramatic forte. And his wonderful rapport with Ms. Matthews makes their duets a charming treat. The bass, Jonathan Lemalu, has a deep, rich timbre that is perfect for the role of Simon.

After rehearsal, we had the rest of the day to play! Many did the sights; I went to Sadlers Wells with 3 other choristers to see Matthew Bourne's "The Car Man" a ballet based on Carmen set in an auto body shop! It was marvelous. Post-play, we walked through all sorts of London districts, vaguely setting our sights on heading back to the hotel. We walked through the theatre district and many fancy shops, Trafalgar Square, Buckingham Palace, Picadilly Circus, Knightsbridge, and eventually back to Kensington. Had to be at least 6-8 miles. It was exhausting and wonderful. The weather all day was perfect - sunny and clear. A tourist's dream!

Back at the hotel with my "take-away" from a little hole in the wall called Luscious Organic, I couldn't wait to shake off my shoes and watch some TV before going to sleep.

Message from CEO- The Chorus is here!

They arrived last night around 10PM

We had an impressive gathering of musicians at the hotel bar by 11PM!!!

I am sure most of us did not get enough sleep but we are rehearsing now, and the chorus is in fine form! A few musicians landed this morning but I can say we have almost everyone on hotel now!

Off to Glyndebourne for Bach's St Matthew Passion later today...

-Marie-Hélène

Heathrow, Hiltons, and Rehearsals

From John Grimes, timpani

It seems that this Hilton hotel is not always on the ball. They ran out of PC Internet use cards and no one could access their e-mails for one whole day. I posted my first blog and then went mysteriously silent. Part of the reason was that once we were committed to rehearsals, it seems our concentration was totally focused on that aspect of things. Not until we emerged at the end of the day did our thoughts turn to blogging or drinking, whichever was of first priority. You can guess which that would be.

But, let's take a step backwards to the day of the orchestra's scheduled arrival at Heathrow. I was asked to perform the task of taking an afternoon train to the airport, connecting with the bus company representative and meeting the musicians as they emerged from Customs inspection in order to guide them toward the awaiting bus. Sounds very simple, right? Well, nothing was going to be very simple on that day. A tremendous flash flood occurred throughout London and apparently in many parts of southern England that morning. I was standing in the Hilton lobby chatting up an English couple about my age who had traveled to the city to take in the theater. They went to about 3 plays in two days and managed to attend a son's wedding on the 2nd day as well. The husband had driven his car into the city and was complaining about a 100£ ticket he got for going overtime at a nearby meter. i sucked in a deep breath and thought, he doesn't understand that i already feel i live in a third world country. My cup of espresso cost $6.00 and i thought Starbucks in Newtonville was pricey!

Well, arriving at Heathrow, one emerges from customs to be greeted by a wall of family members of all nationalities, limo drivers with signs, bus drivers and tour company reps all vying for an empty space in order to be seen. That afternoon, the sudden rains had caused extensive flash flooding which incapacitated the small branch line that stops at Olympia station on the Underground, so i had to take a bus up Kensington High Street to Hammersmith in order to catch the Picaddilly line to the airport. Well, that took a bit longer than I had anticipated. But, i made it on time.

To my shock, the flight was scheduled to land at 8.20PM but had in fact made great time and landed at 7.49PM. The good news was that they hadn't been offloaded as yet. In fact, it took a good hour and a half after arrival before they actually received their luggage.

When I first arrived at the airport, there must have been 2,000 greeters out there. It looked like a great confabulation of the United Nations, hardly an Anglo Saxon in sight. What a contrast to 30 years ago when I first saw London.

Well, an hour and a half later the crowd was down about 1,000 and you could actually see some empty space in between people. I managed to locate the bus, the bus rep, a couple of choristers found me and eventually a few bewildered instrumentalists came through the exit doors. Soon we were whisked back to West London, but suddenly the driver pulled up to a different Hilton. As I looked out the window, I instinctively popped up out of my seat and said, "no, its a different Hilton". Soon, after consulting his satellite finding device, we were on our way around the neighborhood and pulling up to our target domicile.

Everyone soon discovered the bar on the second floor. This was to become our watering hole and general community center. Very comfortable, open space, friendly foreign summer student type waiters and bartenders and dear prices...natch! if you like Boddington's and other flat tasting British ales, this was the shop for it. I tend to prefer the Czech and German pilsners so i had to settle for the Stella Artois instead just to feel a little bit of raspiness going down the gullet with each swallow.

The first day of rehearsals was scheduled to be a marathon. We were bussed to the Royal Academy of Music which is on the street behind and just below Royal Albert Hall. The rehearsal space was a small concert hall. It had good acoustics, attractive, old and charming. Ben Hoffnung, yes, the son of the well known musical racconteur and cartoonist Gerald Hoffnung, is the timpanist of the London Mozart players. He has worked with Sir Roger Norrington on many occasions and was scheduled to play tambourine in the fall scene of the Seasons with us. He too, had agreed to provide me with kettledrums for the affair. As I alighted from the bus, i saw him schlepping the drums out of his auto, so I ran over to lend a hand. We hit it off nicely. He walked me through the necessaries concerning how to handle his instruments, etc. and we were soon off and running.

The rehearsal scheme for the day was to proceed as follows: First, 2 hours followed by lunch; then 2 more hours followed by dinner, and then 3 hours, followed by pub time (that was, of course, unscheduled but essential to every musician alive).

As the Brits might say, we were quite nackered by the end of the day. Rehearsals went well. Norrington showed great pleasure throughout the rehearsal period. You couldn't do wrong by the soloists conscripted for the event ... they were terrific, particularly the soprano and tenor. The Brit extra musicians had played much with Norrington in the London Clasical Players and the concertmistress was top shelf. She knows the piece really well, gets a big generous sound out of her instrument, leads well and very musically. Norrington, one could ascertain, felt very comfortable with her at the helm. The orchestra sounded strong.

That evening while we were in the bar, the busload of singers arrived from Boston and their customs and Heathrow experience in general was even less strenuous than that which greeted the band the evening before. We all breathed a sigh of relief. Soon, they too joined us in the bar and we steeled ourselves for the first joint rehearsal the following morning.

So, we proceeded to day two. Everyone was amazed at how things were seeming to work out quite well.