Charleston Symphony performs stirring 'Messiah' at Saint Clare of Assisi
If you want to understand why a 90-minute, centuries-old oratorio still packs a sanctuary on Daniel Island every December, you only have to watch the way people leaned forward as Assistant Conductor Ryo Hasegawa raised his baton.
Inside Saint Clare of Assisi Catholic Church, the Charleston Symphony’s beloved "Messiah" returned Saturday evening on Dec. 5, with the kind of anticipation reserved for hometown traditions, because at this point, that’s exactly what it is. The annual "Holy City Messiah" draws residents who know the music by heart and newcomers who quickly learn why it sells out each year.
For Hasegawa, stepping into this role for the first time was an honor. “It was absolutely special for me, especially knowing a lot of people in the audience personally,” he said. “It allowed me to open up even more to tell this powerful story of Handel’s 'Messiah.'”
Though "Messiah" is standard holiday repertoire worldwide, Hasegawa approached the score with curiosity and respect.
“Since it was my first time conducting this work, I looked into some performance traditions, but in the end, I also felt there is beauty in bringing some freshness to this tradition,” he said, adding that he shaped dramatic contrasts and encouraged sounds that made the piece feel vivid and immediate.
“Some of the texts are so powerful, so I took some liberties to make it more dramatic.”
The result was a performance that felt alive and collaborative. The CSO Chamber Chorus, prepared by director Nicholas Quardokus, filled the church’s pristine acoustics, while soloists Catherine Psarakis, Christina Pezzarossi Ramsey, Brian Giebler, and Andrew Potter stood out for their vocal talent and spontaneity.
“In every number they sang, they would sing slightly differently,” Hasegawa said. “There are so many magical moments where the orchestra listened to them and reacted to their singing.”
The high point, even for Hasegawa, came in the final Amen chorus. “You can feel this uplifting spirit in this moment, which is absolutely beautiful.”
For Hasegawa, conducting means “using every part of my body visible to the musicians to show intimacy and grandeur of the drama of the work. I love communicating with players and singers in front of me live and being in the moment of making music.
"Even if you didn’t know the text, the music and energy that musicians bring is uplifting, dramatic, and full of positivity."
Despite the demands of a nonstop 90-minute performance, the musicians delivered with stamina and heart. “Everyone on the stage did a superb job,” Hasegawa said.
For a conductor preparing youth ensembles for venues like Carnegie Hall in New York City and Jordan Hall in Boston, this community-centered tradition remains grounding.
“This type of concert reminds me of why I do what I do – connections with people, seeing the relevance and impact of music-making in real life, and sharing such a special season with people I love,” Hasegawa said. “Without an audience who supports the music and arts, we simply cannot do what we do. I am so grateful to have had this opportunity to share the joy with the community members of Daniel Island I adore so very much.”