The enduring popularity of Handel’s oratorio Messiah often presents an obstacle. As Matthew Badham observed in his insightful programme note, navigating the smattering of hits to get to the heart of the music proves difficult.

We are in danger of growing comfortable with something quite the opposite. Performances like Saturday’s are a step in the right direction, persuading newcomers to ditch a highlights compilation in favour of the supreme sweep of the dramatic whole.

Peter Harvey (bass) fronted a quartet of consummate vocal soloists, showcasing staggering clarity and control to reinforce his reputation as a leader in this repertoire. The surprise showstopper was Matthew Long who – with his effortlessly soaring tenor – had the whole room spellbound from his very first ‘Comfort ye’.

The period-instrument ensemble met most of the score’s demands head-on, offering an engaging sound that proved cohesive and flexible in defiance of the elements; providing so taut and strident an opening in such nippy conditions is no mean feat!

An unerring helmsman, Peter Seymour coaxed well-honed lyricism from the elegantly blended Yorkshire Bach Choir. Although softer passages occasionally lacked colour, the voices converged with forbidding conviction for Handel’s more vociferous outbursts.

Indeed, it was the mercurial, impressionistic episodes of the gospel-centric second part that really caught fire. A jagged musical path was traced with chilling urgency and a zeal that served to underline the work’s challenging message. Messiah holds its listeners accountable and demands a response. Performances like this could never leave you feeling lukewarm.

Review by Richard Powell