Distinguished Concerts Int'l NY Presents Handel’s Messiah … Refreshed!

Distinguished Concerts International (DCINY), now in its 4th season, proudly ushers in the holiday season on Sunday, November 27 at 2:00pm with the Lincoln Center premiere of Sir Thomas Beecham/Sir Eugene Goossens' 1959 re-orchestration for full Symphony Orchestra of Handel's beloved Messiah. The re-orchestration, which reappeared in 1999 after a 40-year absence, fills the concert hall with the gloriously rich tonal color of a full, symphony orchestra, to the enthusiasm of audiences wherever it is performed. Featured soloists include soprano Sara Jean Ford, currently starring as Christine Daae in Broadway's The Phantom of the Opera, countertenor Nicholas Tamagna, 2011's Nico Castel International Master Singer Male winner, tenor Ryan MacPherson, and bass Michael Scarcelle. DCINY's Artistic Director and Principal Conductor, Jonathan Griffith, leads the Distinguished Concerts Orchestra International and Distinguished Concert Singers International.

In 1959, Sir Thomas Beecham, founder and Music Director of London's Royal Philharmonic Orchestra (RPO), commissioned Sir Eugene Goossens to orchestrate Messiah for a full, symphony orchestra. Long before the current Early Music movement had taken hold, Beecham fully believed that unless a work was written for the full force of a modern orchestra, it would not be programmed. After completing the commission - thus supposedly saving the treasured work from oblivion - the new Goossens' orchestration was performed live at the Lucerne Festival in Switzerland and recorded by the RPO. Soon afterwards, however, the score and parts were "lost" and no other live performances of the work were presented in Europe or in the United States. Meanwhile, the recording became a huge hit for RCA Red Label and remains one of the top ten most popular Messiah recordings of all time.

Following the first live performance of Goossens' Messiah at Royal Albert Hall in London in 1999, Dr. Jonathan Griffith conducted the United States premiere in April 2000 at Carnegie Hall. While Goossens' epic, romantic take on Handel's masterpiece has somewhat divided critics over the last decade, audiences have responded with unequivocal enthusiasm, as comments Dr. Griffiths: "Even the most novice of audience members recognizes the familiarity of the overall music, but is deeply touched by the sheer sound and richness of full winds, full brass, strings and percussion in those moments that call for musical exuberance, such as the 'Hallelujah' chorus, 'Worthy is the Lamb', and of course, the concluding 'Amen'."

From the opening chords of the Overture, the listener is gradually introduced to the color palette of the expanded orchestra, leading from the opening strings and oboe, to a harp and flute duet accompanied by pizzicato strings, to the full brass section, punctuating the final measures. Most poignant is the soprano recitative; 'And lo, the Angel of the Lord came upon them,' where ascending arpeggios played by the harp (originally written for the violins) add a sense of mystery and awe. In another beautiful use of tonal color, Goossens' uses only the woodwind section in selected passages of 'I know that my Redeemer liveth,' adding additional warmth and color to the text.

DCINY is pleased to welcome back Sara Jean Ford as soprano soloist, last heard with the company in the role of Pieta in Eric Whitacre's critically-acclaimed Paradise Lost: Shadows and Wings at Carnegie Hall, Chicago's Auditorium Theatre and Walt Disney Concert Hall in Los Angeles. Currently starring as Christine Daae in Broadway's The Phantom of the Opera, Ford also counts Finian's Rainbow and A Little Night Music among her Broadway credits. Rising New York City countertenor Nicholas Tamagna won the Nico Castel International Mastersinger Competition in the male category in 2011 and was recently praised by The New York Times for his "charismatic" and "vibrant" portrayal of Farnace in Mozart's Mitridate for Little Opera Theatre of New York. Tenor soloist Ryan MacPherson has performed frequently with New York City Opera, as well as with opera companies across the country, in roles including Anatol in Samuel Barber's Vanessa and Don José in Carmen. Bass-baritone Michael Scarcelle was recently acclaimed for his Elviro in Handel's Serse with Boston Baroque and performances of Candide with the Munich Philharmonic and on tour with the London Symphony Orchestra.

Tickets ($20-100) at www.lincolncenter.org or by calling CenterCharge 212.721.6500

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