A Nearly Complete Handel’s ‘Messiah’

Inside the concert hall, December is time for Handel’s “Messiah” while outside, it is time for winter viruses. Not surprisingly, the audience at the Orange County Performing Arts Center in Costa Mesa on Saturday night was chock full of cold sufferers (including this one), determined to imbibe their yearly dose of Baroque cheer.

Forces complied with gallant tolerance of the almost ever-present coughing and, at intermission, with gallons of cider.

Richard Westerfield, an assistant conductor of the Boston Symphony, led members of the Pacific Symphony and Pacific Chorale in a nearly complete performance of the oratorio, taking most of the cuts from the Easter portion but also omitting the aria (or duet, depending on which version one prefers) “He shall feed his flock” from the first section.

The instrumentalists numbered a few less than Handel used in documented performances. The chorale included far more singers than Handel’s 20. Nevertheless, Westerfield kept the groups in consistent, light-textured balance, conveying compelling direction and complementing vocal details with orchestral nuance.

The chorale contributed a fine blend, and admirable coloration, in focused choruses enlivened by sure characterizations. The orchestra, anchored by Lori Loftus’ continuo and with violins shepherded by guest concertmaster Miran Kojian, partnered with rhythmic point and clarity.

Soprano Pamela Hinchman and tenor David Hamilton disclosed much poetry during their solos. Mezzo-soprano Mary Ann McCormick exercised restraint bordering on blandness, while Thomas Scurich used his rich baritone to indulge in melodrama. Principal trumpeter Burnette Dillon brought stylish flair to his part in “The Trumpet Shall Sound.”