Messiah
Messiah 250

In 1771, professional musician and amateur astronomer William Herschel organised a performance of The Messiah at the Octagon Chapel in Bath, which was the one of the first full performances of Handel’s celebrated work in that city.   


In 2022, Echo collaborated with Paragon Singers to present a staged, minimalist performance of the work, inspired by Herschel's early performance and influenced by Jonathan Miller's St Matthew Passion. Our interpretation used the original 1741 Dublin scoring and intimate forces to capture the intention of that initial performance, while using modern staging and contemporary themes to explore The Messiah’s relevance today as one of the best known pieces in Western Classical history.


The Pastoral Symphony (Pifa) in workshop rehearsals, January 2022

The project was designed to bring together communities in Bath through music and to celebrate the history of Bath’s association with Handel’s ‘Messiah’. It was a collaboration between Echo, Paragon Singers, Bath Spa University, groups of singers across Bath, historian Andrew Clarke and theatre director Tom Guthrie. Following an extended and in-depth exploration series of workshops and rehearsals over the course of four months, Messiah 250 culminated in a large-scale concert staging at St Swithin’s Church. Directed by Tom Guthrie, that performance was in-the-round, immersive and a celebration of community and hope.


This project also formed a major part of the academic course for film students at Bath Spa University. They documented the workshop and rehearsal process, which included three intensive days with full cast and orchestra. As part of the 4-month project, our conductor Sarah ran a series of singing workshops throughout Bath, including free workshops for young people in the city and, in partnership with charity Julian House, for homeless and vulnerable people living in Bath. ο»Ώ


***Newsflash!***


Here is a lovely review of director Thomas Guthrie's work, which includes words on Messiah 250!  Thank you to Dorota KoziΕ„ska for this gorgeous and thoughtful write up.


"joy, uncertainty, awe, despair and ecstasy were marked with a different shade on the face and in the gestures of each musician, including the instrumentalists"


"The understanding between Latto, who holds the whole thing together, and the director to make every gesture of the conductor both musically legible and significant in the story, to make it at one time resemble maternal tenderness, at another a grimace of derision, at yet another pure ecstasy"


Full review here


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