The performance in May 2010 of Handel's Messiah by Brisbane Chamber Choir and the Camerata of St John's gave this timeless work a new life under the skilled and thoughtful baton of Musical Director Graeme Morton. In the sublime acoustic and sumptuous architecture of St John's Cathedral's the performance was both visually and aurally stunning, and the perfect backdrop for capturing the drama of the text as well as the grace and charm of the Baroque era.

In what was an incredibly dramatic rendition of the oratorio, the ambitious and sprightly tempos were masterfully handled by choir, orchestra and four stellar soloists (soprano Milica Ilic, alto Anne Fulton, tenor Bernard Wheaton and bass Jason Barry-Smith). This was fiery drama at its best, facilitated by agile articulation from the singers, and clear and confident playing from what is currently one of Australia's most outstanding chamber ensembles. It was clear that much thought had gone into being faithful to the text throughout and, while the dance-like quality of many movements was clearly evident, there was no sense that this overshadowed the drama underlying the work as a whole.

All reviewers and fans of Messiah will have their own favourite passages and memorable moments from any performance. For me, the moment of the evening which most captured the grandeur of Handel's writing would have to be He Trusted in God. This early fugal movement was perfectly executed; the articulation was so clear and the dramatic effect simply exquisite, as the movement built towards a climax which demonstrated the passion of the Baroque in all its glory. Also worthy of mention is Since By Man Came Death, which features the only a cappella section of the work and surely one of the most intense passages. Here the choir enticed the listener right from the opening chords and drew the audience in with gorgeous sustained singing contrasted with triumphant vigour. Again the text and drama was paramount, containing the core of the work's scriptural message: “Since by man came death, by man came also the resurrection of the dead. For as in Adam all die, even so in Christ shall all be made alive.” These stand-out moments were testament to the ensemble's ability to convey the sublime and the dramatic in a single performance.

Dr Joseph Twist, Australian composer

Continuing with a well chosen diversity of the finest vocal and  instrumental music, the St Stephen's Series' recent performance introduced an afternoon of baroque masterpieces, which included the Consort Set in C minor by 17th century English composer William Lawes and the 17th century opera, Purcell's Dido and Aeneas.

The Badinerie Players drawn from The Queensland Orchestra with Christopher Cook at the harpsichord performed with impeccable style on authentic Baroque string instruments under the direction of Graeme Morton who then turned his attention to Purcell.

Henry Purcell was to England what Bach and Handel were to Germany - masters of Baroque.

The Brisbane Chamber Choir founded by Graeme Morton in 1997 goes from strength to strength. Morton drew a splendid range of dynamics from the singers who seemed very much at ease with the lilting melodies and rhythms in the Purcell score.

The principal soloists Emma Baker-Spink (Dido), Matthew Broadbent (Aeneas), Kathryn Morton (Belinda) sang with poise and sense of style. It was an ideal culmination - Baker-Spink's pure, facile soprano, Morton's warm flowing mezzo and Broadbent's sonorous baritone.

Barbara Hebden

http://www.4mbsclassicfm.com.au/index.php?action=article&args=view&pg=346