MSO’s Hometown “Messiah” tour

The holiday perennials — Nutcracker, A Christmas Carol, Messiah — cause many a sophisticated eye to roll.

Oh, that old thing? How predictable.

But such works become that old thing only when the performers adopt that attitude. One of the most admirable qualities of our arts institutions is that they do not take these holiday staples for granted. The companies throw themselves into their December work and remind us that these traditions got started for good reasons.

Take Handel’s Messiah, which chamber-scaled subsets of the Milwaukee Symphony Orchestra and Chorus and the four young Resident Artists of the Florentine Opera performed Wednesday evening at St. Mary’s Catholic Faith Community. A Wednesday night in Hales Corners? If they were ever going to let down, that would have been the time.

Instead, under the sure, energetic leadership of conductor Christopher Seaman, all parties played and sang as if Handel’s ghost were in the room to pass judgment. The chorus articulated with immaculate precision. The low strings kept the continuo part lively and nuanced throughout. Mark Niehaus negotiated the difficult trumpet solos flawlessly and gracefully.

Seaman conducted from the harpsichord. He played it and filled in the harmony and ornamented during the solo recitatives, ariosos and airs. His playing communicated everything that the very nearby continuo string players needed to know. During these passages, the piece became intimate chamber music that nonetheless played to a big crowd in a big hall. When the chorus stood to sing, Seaman took up the baton and turned the continuo over to a portative organ stationed amid the orchestra. The change in coloration added some variety and freed Seaman’s hands to draw very detailed singing from Lee Erickson’s excellent chorus.

The strings, chorus and soloists played and sang interactively. Seaman surely had a lot to do with the way the three elements did not merely do their parts, but responded to one another in kind.

The soloists sang ardently, even operatically. Tenor Matthew Richardson went furthest in that direction. His beautiful, clarion voice is perfect for this music and his emotional impulse is in the right direction. But small, persistent errors in pitch and some strain at the top detracted from an otherwise powerful performance. We know soprano Erica Schuller, a local girl in her second year as a Florentine resident. Her voice is getting bigger and richer, but she still sounds effortless. Alto Kristin DiNinno, new this year, possesses a big, weighty voice. Handel takes the alto very low, and as often as not singers struggle in the depths. DiNinno was very strong down there. Both women lavished a Verdi-style vibrato on Handel; personally, I prefer a little less of that in this music. But style issues aside, both sang superbly. Bass Dan Richardson, another newcomer, impressed with a clean, clear, declarative reading of his part. Everything was out on the lips and teeth, with nothing covered or veiled. You rarely hear music this low sound so bright.

The sum of their efforts made familiar music sound new again. Who could have heard that grand choral summation Wednesday night,  Worthy is the lamb that was slain, and not feel redeemed, somehow? Handel and these musicians earned that for us all.

The MSO Messiah moves on to the Basilica of St. Josaphat for performances at 7:30 p.m. Thursday and Friday, Dec. 15-16; and to the Cathedral of St. John the Evangelist at 7:30 p.m. Saturday and 1:30 p.m. Sunday, Dec. 17. For tickets and further information, visit the Milwaukee Symphony’s website or call the MSO ticket line, 414 291-7605.