David Fallis
is our conductor for this year's performance of Handel's Messiah. No, I cannot get sick of singing this work year after year if the likes of Maestro Fallis are still inspired by it why shouldn't I?
He brought his interpretation to us with consise instructions - "Do you know what stripes are in this context?" (And with his stripes we are healed) "They are ugly and they hurt like hell. Sing that word that way" He also has us change our singing of the word sheep. We get to the 'p' faster. Many of his instructions had to do with singing the text more similar to our speaking - slight problem for me that my Mennonite speaking may differ from his native Torontonian vocalizations so my production of the article, 'the' may still be jarring for him.
He brought a generalized more stately tempo to many of the pieces saying, "if you are confident in what you are singing there is no need to rush." This for the "Blessing and Honour section of the last movement. He also brushed over some of our more rehearsed marcatto passages.
Most notable contrast from the 2023 Messiah is that the central soparno aria,
I know that my Redemmer livith was NOT left out. Still shaking my head over that decision last year.
Also, if you have ever wallowed in period dramas such as The Tudors or Borgias it will interest you to know that David Fallis has a lot to do with the feel of those episodes as he was their historical music producer!
It is a delight to be working with him!
I LOVE performing with the WSO and really, they are the premiere musicians in the city, but there is the odd time where they embarass me and their rehearsals with Maestro Fallis was such a time. The Instrumentalists close to me chit-chatted through his instructions and some never proved they owned a pencil and so, of course, at 2nd rehearsal there was confusion as a few scores were void of markings. Not sure why it is that guest conductors cannot be treated with more respect? Perhaps his attitude was too coolaborative for this bunch who are still pining the loss of Boreyko? Some instrument sections did not keep pace with his baton, which of course is hard to do when you are not looking in the general direction of the guy waving the baton. Keep in mind these players are getting paid to play this. Their rushing away with the tempo happened during the performances as well. Ah well, the composition and the message behind it transcended all. The audience was still inspired and nobody asked for a refund.
This year we sang the Hallelujah Chorus sans score, which you wouldn't think was a big deal but you would be thinking wrongly. Winnipeg choirs don't seem to do much memory work and so it was quite something!
Another first was having 3 performances instead of the usual 1 or 2, and I do believe the 3rd performance was our best! David Fallis stayed and chatted with the audience after every show which was just one of his endearing traits.
The shows were held at Knox United Church as neither the WSO nor the Centennial Concert Hall has seen fit to purchase or repair the choral shell so needed for choir productions to be able to return to the Concert hall unmiked. There are some advantages to the Knox venue as it is gorgeous and gives the audience a more intimate connection with the orchestra and singers. For the choristers too, we are much closer to our conductor which I think provides us with security. I like to have eye contact with the leader during performances. Two problem areas with the venue are, parking and potties, as well as the rushed seating. Although perhaps that is also a good thing as one price gets you any seat. The audience members I spoke to were comfortable in that space.
Overall, I am completely satisfied with the experience and am looking forward to Messiah 2025!
