The acclaimed oratorio, *Messiah*, composed by George Frideric Handel, is set to be performed in an intimate version that diverges from the grand presentations typically associated with this iconic work. This unique rendition, taking place from November 27 to December 3 at the City Recital Hall, showcases the original performance style from its 1742 Dublin premiere, featuring a select group of twelve singers and period instruments.
Artistic director Erin Helyard, who has dedicated much of his career to exploring *Messiah*, unearths fascinating historical narratives surrounding the oratorio. Central to this intrigue is the story of Susannah Cibber, an 18th-century actor and singer whose tumultuous reputation shaped the context of the premiere. Helyard, a self-professed Handel enthusiast, suggests that Cibber’s scandalous past, which included infidelity and public shaming, played a significant role in Handel’s decision to stage the performance in Dublin rather than London.
Cibber’s husband, Theophilus, was a key figure in the scandal, which involved a highly publicized lawsuit for adultery. Helyard describes Theophilus as “quite a nasty man,” alleging that he manipulated a sordid situation that tarnished Cibber’s name. Despite the damaging gossip, Cibber ultimately regained her standing in society, aided by Handel, who provided her with a prominent solo role in *Messiah*.
During the performance on April 13, 1742, Cibber sang the poignant aria, “He was despised and rejected,” which resonated deeply with the audience. Clergyman Reverend Patrick Delany famously declared, “Woman, for this be all thy sins forgiven thee!” This moment marked a turning point in Cibber’s life, highlighting the powerful intersection of art and personal redemption.
Helyard emphasizes the emotional depth of *Messiah*, stating, “I’m always in tears by the end because there is something about it that really pulls at the emotions.” He believes that Cibber’s involvement was not just a matter of talent but also an act of healing for both her and Handel, who sought to support a friend in distress.
The upcoming performance will feature mezzo-soprano Ashlyn Tymms in the role originally performed by Cibber. Accompanied by the Orchestra of the Antipodes, the event promises to deliver a starkly different experience from the large-scale productions that dominate the modern landscape. Helyard notes the clarity and vitality of this early version, stating, “It’s wonderful to do this early version because you get a transparency that is different from the larger versions.”
As audiences prepare to experience *Messiah* in this new light, the historical context of Cibber’s story adds layers of intrigue and emotional resonance to the performance. Helyard’s lifelong passion for *Messiah* not only celebrates Handel’s composition but also invites listeners to reflect on the personal narratives that echo through the music.
The City Recital Hall will host this remarkable rendition, allowing attendees to witness a blend of history, scandal, and artistry, ensuring that Handel’s masterpiece remains as compelling today as it was nearly three centuries ago.
