‘Messiah’ performance Van Wert tradition

DAVE MOSIER/independent editor

Area residents had the chance to hear the majesty of perhaps the greatest Christian musical composition ever written on Sunday with the biennial presentation of Handel’s Messiah. The performance, held in the sanctuary of First United Methodist Church, included a professional orchestra, four professional soloists, and a 60-member community chorus.

Sunday’s performance was comprised of 25 of Messiah’s 53 separate choral and solo compositions, what is known as the “Christmas” portion of the oratorio, along with the bass recitative “Behold, I Tell You a Mystery”, the bass aria “The Trumpet Shall Sound”, the chorus “Worthy is the Lamb” and its “Amen” and the “Hallelujah Chorus.”

The local performance highlighted just what makes the oratorio, performed every two years in conjunction with sponsorship from The Van Wert County Foundation and First UM Church, such a memorable experience for those who participate, as well as those in the audience.

The soloists, soprano Jennifer Barrett Harrell, alto Sara Snider Schone, tenor Daniel Doty, and baritone Dr. Perry Ward, all provided workmanlike performances of their respective arias and recitatives.

In addition, an orchestra comprised of musicians from a multi-state area also provided the musical accompaniment that made the solos and choral parts stand out.

Orchestra members are as follows: Violin I — Michael Houff, Cecelia Johnson, and Michel Siebeg; Violin II — Dana Mader and Sarah Longbrake; Viola — Mihaela Ragusitu and Maureen Case, Cello — Gustavo Carpinteyro; Bass — Rod Sroufe; Oboe — Joe Basel and Crystal Gillaspy; Bassoon — Susan Brubaker; Trumpet — Jonathan Britt and Tim Hoverman; Timpani — Robert Sloan; Harpsichord — Annette Hoverman; and Organ/rehearsal pianist — Gloria Wendel.

The community chorus, however, provided the icing on the cake, so to speak, as it sang its parts with power and sensitivity, when called for.

Choral members were as follows:

Sopranos — Jeanne Beck, Rachael Dettrow, Mary Ann Falk, Danille Hancock, Arlene Hurless, Rhonda Johnson, Paula LaRue, Bethany Martinez, Elizabeth Runyon, Caral Snider, Sue Steinem, Elesha Wey, Nikki Roberts, and Cathy Woodward.

Altos — Jerri Bacino, Ruth Brickner, Beth Conn, Dee Densel, Linda Evans, Melinda Farmer, Carol Gehres, Rachel Gehrlich, Sarah Hostetler, Shirley Jarvis, Linda Jones, Leah Keysor, Julie Lang, Jane Oechsle, Kay Okuley, Judy Painter, and Luanne Watson.

Tenors — Matt Alessandrini, Seth Baker, Andrew Bashore, Jim Covey, Joe Falk, Mark Fast, Tim Kindinger, Joe B. Martinez, Roger Okuley, Kevin Reeks, Johathan Wey, and Jake Wilder.

Basses — John Auld, Terry Fox, Jonathan Haggis, Will Haggis, Jerry Hoffman, Eric Hurless, Mel Hurless, Sam Lang, John Rager, Adam Ries, Hugh Saunier, Larry Taylor, and Merle Whetstone.

Director Paul Hoverman did an excellent job of conducting the nearly 1½ hour-long performance.

All and all, it was another stupendous performance of a work first composed in 1741 in just 24 days — a feat of musical composition that will likely never be equaled.