Nottingham Harmonic Choir

Strausss Four Last Songs

Brahms German Requiem

Orchestra da Camera

Saturday 11th Nov 2017 7:30pm
Albert Hall, Nottingham

Further information on this concert

Nottingham Harmonic Choir

Making Music since 1856

New members always welcome - by audition
but first, come to a rehearsal - to see if you like us

View our You Tube video of a typical rehearsal


Royal Concert Hall

7:00pm Wednesday 20th December 2017
5:00pm Saturday 23rd December 2017

Nottingham Harmonic Choir

Thoresby Colliery Band

Further information on Carol Concerts

Handel Messiah

Royal Concert Hall

Saturday 2nd December 2017 7:00pm

Soloists: Katie Trethewey, Benjamin Williamson
James Greer, Grant Doyle

Further information on Messiah


Tickets prices :
£17.00 - £23.00
concessions available
Accompanied children (16 & under) FREE

Handel Messiah (complete)

next performance:
Saturday 2nd December 2017 7:00pm

Orchestra da Camera
Conductor Richard Laing
Soprano Katie Trethewey
Countertenor Benjamin Williamson
Tenor James Greer
Baritone Grant Doyle
Continuo Michael Overbury

Royal Concert Hall

The Nottingham Harmonic Choir perform Messiah - complete and uncut, each year at around the start of advent.

Tweets from previous concert goers:
From @DeanFathers1 on Twitter:
@Notts_Harmonic Brilliant, marvellous and wonderful performance of the Messiah this evening at the Royal Concert Hall, Nottingham. Bravo
From @pastmh Michael Hall
@Notts_Harmonic - first experience of @notts_harmonic and first #Messiah - really enjoyable evening - thank you

Start your Christmas season with an evening of inspirational music. Handel's magnificent oratorio Messiah tells the story of Jesus' birth, life, death and resurrection, through many narrative and explanatory extracts from the Bible. This dramatic work features several of the greatest arias and choruses ever written.

This concert comes at the start of Advent, when we are all finally becoming aware that it really isn't long until Christmas, even though the shops have been anticipating it for months. Come and have an evening to escape from the bustle and let Handel's glorious music wash over you and renew you.

Handel's inspired Messiah, written in only 21 days, also looks forward to Christmas, telling the story of Jesus' birth, life, death and resurrection, through prophetic, narrative and explanatory extracts from the Bible.

Although Messiah is the work by which most people in the world know Handel, it is almost a misfit in his output. He was not generally a religious composer and was not employed as a church musician, but rather wrote operas and music for royal occasions. His oratorios appear to be simply operas with religious themes. At the time they were written in England, they were not allowed to be staged nor acted. They could only be performed in a church, not in a theatre.

Handel's operatic techniques are apparent in Messiah. The choir plays parts ranging from a vituperative mob hurling insults round the Cross to a choir of Angels singing of Jesus' birth and praising Him in Heaven.

Many of the soloists' arias are familiar and well-loved, but they make even more impact in the context of the whole work.

If you have never heard the whole of Messiah before, or have only heard versions which are heavily cut, where there is no sense of continuity, come and be prepared for a totally different, thrilling, emotional experience!

Recent Review: MESSIAH
Nottingham Harmonic Choir,
by Peter Palmer
Nottingham Evening Post

You should be hearing many different views on the highlights of this Messiah, because there was hardly a dull moment in Saturday's performance under Richard Laing.

Handel's famous Hallelujah chorus is the main contender, the voices climbing to dizzying heights. Never have I seen the first tier of the audience rise at the start with such alacrity. A Martian eavesdropping would have sworn we, too, had been rehearsed.
The performance gripped because the dramatic and reflective sections of the music were strongly contrasted. I need only mention the choral cries of "Glory to God" after the solo soprano's "There were shepherds abiding." The latter stages of Part One were memorable for lilting arias from Juliette Pochin and Lucy Hall, the Orchestra da Camera adding the radiant colours of an Old Master painting.

Though not the most Italianate of tenors, Christopher Lemmings gave pathos to his Part Two lament. The choruses were consistently incisive here. Adrian Powter's resonant "Why do the nations?" - taken at breakneck speed - cleared a path for the climactic revelation.

Soprano and orchestra combined beautifully in Part Three, and the lead violin, cello and harpsichord all had charisma. The choir sounded atmospheric in their hushed opening, electrifying in the crowning moments.

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