Handel's "Judas Maccabaeus" performed in Jerusalem: Yuval Benozer conducts soloists, the Israeli Vocal Ensemble, the Jerusalem Symphony Orchestra and soloists. Narrator: Tomer Sharon

Maestro Yuval Benozer (agfestival.co.il)

For Concert No.2 of its Vocal Series, the Jerusalem Symphony Orchestra, now in its 82nd season, presented George Frideric Handel’s oratorio “Judas Maccabaeus”. Joining the JSO were soloists Daniela Skorka, Alon Harari, Ron Silberstein and Oded Reich, the Israeli Vocal Ensemble (artistic director: Yuval Benozer) and Tomer Sharon-narrator. Yuval Benozer conducted the performance, which took place in the Henry Crown Symphony Hall of the Jerusalem Theatre on December 25th 2019.

 

Historical events have given rise to one of Handel’s greatest and most-loved choral works. In his program notes, Yuval Benozer recounts how Handel composed the oratorio immediately following the Duke of Cumberland’s bloody suppression of the Jacobite Rebellion, his victory in the Battle of Culloden (1746); the oratorio's celebration of the Maccabean victory became analogous to the English triumph. Thus, the heroic exploits of the guerrilla rebel Judas Maccabaeus proved particularly relevant to that time in British history. Handel's score even features a dedication to the triumphant Prince William Augustus, Duke of Cumberland: “The plan was designed as a compliment to the Duke of Cumberland upon his returning victorious from Scotland… Had not the Duke carried his point triumphantly, this Oratorio could not have been brought on.” The libretto, written by Rev.Thomas Morell, is based on I Maccabees (2–8), with motives added from the “Antiquitates Judaicae” of Flavius Josephus. Reducing the libretto to its bare bones, Morrell wrote with less subtlety, more pageantry and closer connection to current events than Handel’s former librettists; and it seems Morrell was a good fit with the new and less sophisticated London audience of the time. At the Jerusalem concert, in place of the cantata’s recitatives, sections of I Maccabees were read masterfully in the original biblical Hebrew by actor Tomer Sharon, this also befitting to the Feast of Lights that coincided with the event. Benozer holds a special predilection for “Judas Maccabaeus”, with its combination of depth and lightness, drama and entertainment, the beautiful choral sections and, especially, its finale which, “in a most uncommon way, praises peace over war”, in the conductor’s own words. 

 

A finely responsive body of voices, the Israel Vocal Ensemble (Chorus of Israelites) gave performance of the choruses that was sensitive, incisive, rich in timbre and outstanding in the attentive detail addressed to every turn and emotion of the verbal text. The singers’ diction was impeccable (far clearer than many native speaking choirs), all sections well balanced, the members blending as one and engaging in subtly-textured dynamics. The evening's solo singing too was also exemplary. A new face to many of us, young tenor Ron Silberstein, issued in the work with a call to arms accompanied by torrential scales and agitated concitato playing of the unison violins.  Involved and dramatic in the role of Judas Maccabaeus, he addressed the audience, performing his final aria (with trumpet obbligato) with dynamic variety and technical skill. Daniela Skorka portrayed the Israelitish Woman with a clear clean soprano and mellifluous top notes, her singing easeful, lyrical and communicative.  She was well paired with Alon Harari, who, in his warm stable tone and equal flexibility, sculpted each utterance and made use of small but strategic pauses, also enlisting some elegant ornamentation. As the allegorical duo, the Israelitish Woman and Israelitish Man giving voice to the personal feelings of their people, Skorka and Harari performed their duets superbly, as in their absolute togetherness in “O lovely peace”, the flute line threaded through it adding to its pastoral tranquillity and sense of well-being. Bringing to bear his richly resonant tone, baritone Oded Reich embraced the priestly role of Simon with fine diction, articulacy and vigour, endorsing each emotion with stirring conviction, his voice moving securely and seamlessly between registers.

 

In Handel's lifetime, “Judas Maccabaeus” was even more popular than “Messiah”. Maestro Benozer’s direction of “Judas Maccabaeus'', with its eloquent orchestral accompaniments (including fine obbligato trumpets and timpani) brought  all participants together in a performance that never lagged, that was both refined and triumphal, giving choir and soloists latitude to be expressive, shape lines and deliver their characterizations with self-possession, capturing the work’s force. “Judas Maccabaeus” is George Frideric Handel at his heroic best. His music of mourning, rousing calls to arms and rejoicing in victory gave Jerusalem’s Handel aficionados much to enjoy.