CHOIR RAISES ROOF TO PRAISE HEAVEN Handel's Israel in Egypt is not all spellbinding music, but it does point the way towards later greater things, with many masterful choruses that bear more than a passing resemblance to the Messiah et al. Most of these are concentrated in its second half, and it's pretty clear old Georg Frederick makes a better fist of straightforward heavenly praise, after the Israelites get out of Pharaoh's clutches, than the grisly operatic narrative about plagues of frogs, blotches and blains, that occupies most of the first half's depiction of their Egyptian sojourn. And there was no doubt about the enthusiasm and raised standards of the 300-strong (sic) Intervarsity Choir as it responded to Handel's more inspired writing in the second half following its rather ho-hum rendition of the first half's pestilential problems. It was as if they had morphed into a different group after interval. Full marks to their splendidly roof-rousing I will sing unto the Lord, The people shall hear, The lord shall reign and the final Sing ye to the Lord, all of which made the sparks fly around the Festival Theatre with its Lares reverb system seemingly on max. The bevy of soloists Handel worked into the score to popularise it after its initial flop all shone, with Sally-Anne Russell adding particular presence. The Adelaide Art Orchestra gave empathetic support and conductor Graham Abbott brought his customary confidence and enthusiasm to bear throughout the proceedings. Rodney Smith
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