Voices of Omaha going back to origins of ‘Messiah'

Voices of Omaha has always presented its annual “Messiah” as a gift to the city.

For the past 40 years, its performances — which feature a large chorus and professional orchestra — have been free.

The group's 41st annual “Messiah” will mark the debut of new artistic director Edward Hurd.

A Portland, Ore., native, Hurd, 53, works full time as director of performance rentals at Omaha Performing Arts. He's also organist and choirmaster of Beautiful Savior Lutheran Church in La Vista.

His appointment fulfills his lifelong ambition to conduct “Messiah” in a major concert hall. It will also allow him to try out some new ideas.

Q. Why did you want to become Voices of Omaha's artistic director?

A. I've always had an affinity for “Messiah.” In fact, the work has had a truly formative effect on my life. When I was a kid, my dad took me to hear a performance of “Messiah” featuring Loren Sykes, who was a real musical icon of the Pacific Northwest. Sykes conducted “Messiah” from the organ and made a glorious sound. I just sat there thinking “Boy, I'd like to do that one day.” I went on to study choral conducting in school. When I found out last year that Stanley Schmidt was retiring as artistic director of Voices of Omaha, I sent in my résumé. I wanted to conduct “Messiah” in a hall like the Holland Center. I had heard Voices of Omaha perform “Messiah” at the Orpheum Theater when I first moved to the city and was deeply impressed. I was one of the people who talked them into moving the performance from the Orpheum to the Holland Center. The new Peter Kiewit Concert Hall was designed with a vocal work like “Messiah” in mind.

Q. What's your main goal as artistic director?

A. I want to provide the singers in Voices of Omaha with the opportunity to experience “Messiah” in a historically informed way. We're going to scrape off all the barnacles that have accumulated on the oratorio over the centuries and get back to the original manuscript. My goal is to have us sing the work in the true Baroque style. Other styles and interpretations that have come down to us over the years are also worthy. But the Baroque singing style, with its minimal use of vocal vibrato, creates a sound that is clear and pristine. It's a very transparent, crystalline sound.

Q. Most conductors make cuts in “Messiah” because this oratorio is as long as an opera. What are your plans?

A. We'll ultimately perform about two-thirds of the work. Part one tells the story of Christ's birth, and we're going to perform it in its entirety, except for maybe one aria. Parts two and three tell the story of Christ's life, death and resurrection. We'll make more cuts in those parts. We're definitely going to keep the final aria, “Worthy Is the Lamb,” with its resounding amen. It's just not “Messiah” without that amen.

Q. What's your favorite Handel aria?

A. My favorite is “I Know That My Redeemer Liveth.” That was also Handel's favorite aria. There's a life-size statue of Handel at London's Westminster Abbey that shows him holding the score of that famous aria. Handel composed “Messiah” in the white heat of just 28 days and he was clearly inspired. He later said that composing the work had transformed his life. I think this aria is the musical representation of his spiritual transformation.

Q. What's been your experience conducting “Messiah”?

A. I've lived with “Messiah” for my entire professional life. I was the conducting assistant at Central Washington University, where I got my bachelor's degree. And I've conducted it in the various churches where I've worked as organist and choral director. This will be my first time conducting it in a major concert hall. That's something I've always wanted to do.

Q. Who are your soloists?

A. Anne DeVries is our soprano, and she has a remarkably beautiful, clear voice. Our alto, Janet Carlsen Campbell, has one of the richest, warmest mezzo sounds I've heard. Tenor Paul Koenig sings with a real creamy sound. Bass baritone Terry Hodges will sing his first “Messiah” with Voices of Omaha. He lives in Omaha but has a national and international singing career. It will be exciting to hear him at the Holland Center.

Q. When you're not conducting “Messiah,” what do you like to do?

A. I most enjoy gardening. In music, once a performance is over and the sound has dissipated, I often feel like I don't have anything to show for my work. A garden is a tangible thing I can look at. It gives me a feeling of accomplishment.

Contact the writer:

444-1076, john.pitcher@owh.com

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