With Hans Werner Henze’s The Raft of the Medusa last year, the Komische Oper Berlin started something new: putting on a major production at Tempelhof Airport to launch the season. Now comes another, with what is probably Handel’s most famous work, in a production that powerfully conveys his spiritual depth and musical impact. Along for the ride: several hundred singers from amateur choirs across the city!

Even the less classically inclined would recognize the »Hallelujah« chorus from Handel’s Messiah if nothing else. Arguably his most famous work among German audiences, he composed it at a turning point in his career. After failing financially with his opera endeavours, the already famous composer increasingly turned to the dazzling genre of the oratorio, with its magnificent choral work. He produced numerous compositions, often drawing on mythological subjects. Unlike very theatrical oratorios such as Semele, Jephtha, or Saul, Messiah focuses entirely on the contemplative character of the Old and New Testament verses that librettist Charles Jennens selected for the text. In the German-speaking world, Messiah thus became the epitome of the genre, the quintessential oratorio. 

Taking the deeply held belief that music lets you take control of your destiny even in a seemingly hopeless situation, director Damiano Michieletto joins forces with choral soloists from the Komische Oper Berlin – along with several hundred singers from choirs across Berlin – to come together in creating a powerful plea for hope.

Recommended reading:
In his book Decisive Moments in History, Stefan Zweig recounts with literary inventiveness and convincing truthfulness how George Frideric Handel was ‘resurrected’ through his composing of Messiah.