Review: Messiah (Pinchgut Opera)

Score: ★★★★★

Reviewed on Saturday 29th November 2025 at Sydney Recital Hall

by Camilo López

Messiah is a well known work, presented multiple times a year, and one that many have performed. Usually presented within a “community” context, it is undeniably long, and filled with several musical gems.

From the very first notes of the overture, with beautifully played ornamentation by Matthew Greco, it was clear that we were in for a true Pinchgut Opera treat.

Pinchgut, under Erin Helyard’s leadership, chose to present the original Dublin version (1742). For those unfamiliar with the work’s performance history, this might seem insignificant, but it was, in fact, an exceptionally clever choice.

With a compact group of twelve singers performing both as soloists and ensemble, the performance offered not only beautiful music but also the chance to appreciate the individuality of each voice. Even with a three-hour running time, I genuinely looked forward to the next recit or aria, knowing I would hear a different artist. This rotation of voices made for an especially engaging experience.

While I could easily write a full paragraph on each artist, here are the qualities that stood out most to me:

• Miriam Allan offered an ethereal, heavenly clarity ideally suited to this work, musically and thematically. Paired with Damien Cooper's stunning lighting, her moments were captivating. A true highlight.

• Myriam Arbouz has a gorgeous voice and her dramatic nuance elevated the arias even more. A compelling performance.

• Brianna Louwen, though without a solo aria, was a joy to watch in the ensemble settings, displaying a sincere singer–music connection.

• Ashlyn Tymms equals elegance: poised, polished, and vocally refined.

• Hannah Fraser’s delicate mezzo-soprano was a genuine delight.

• Olivia Payne and Sebastian Maclaine delivered a beautiful duet near the end. Despite being physically far apart, their voices blended exquisitely in the space - an achievement requiring remarkable musicianship.

• Andrew O’Connor and Jacob Lawrence demonstrated that enviable quality all singers admire: making a demanding sing look effortless.

• Tenor Louis Hurley sang with strong determination, and clarity through his declamatory moments.

• Edward Grint’s noble bass-baritone, especially in “The trumpet shall sound”, was outstanding. As a baritone myself, I found it deeply inspiring.

• Freddy Shaw, a young bass with a resonant and powerful voice, was astonishing. Standing beside vastly experienced colleagues, he distinguished himself not through youth but through remarkable maturity of sound. A very bright future lies ahead.

  
  

This artist configuration could have exposed each vocal line in ensemble sections - often mercilessly. However, that was not the case. While there were perhaps one or two moments where the tessitura challenged the altos's projection, I was consistently impressed by the ensemble’s unity, especially in the coloratura passages. The chorus sections were standouts not only for their vocal power but for the energy they infused into the whole performance.

Erin Helyard did a superb job shaping and finessing the collective sound - another reminder of why he is so beloved in Australia’s musical landscape.

One of the most remarkable aspects of the evening was the visible joy on stage. It was truly an ensemble achievement. From Erin’s smiles to the singers after each aria, to Andrew O’Connor and Miriam Allan beaming at their colleagues, to the entire group turning to admire Freddy Shaw - this is what we want to see: artists genuinely enjoying their craft and each other. We need this level of collegiality across all stages in Australia.

Without much more to add, and hoping this review isn’t too long, I offer the warmest congratulations to the entire Pinchgut team for a fresh, stunning, and powerful Messiah. It showcased the highest level of musicianship and some extraordinarily exciting young artists. We should all feel proud to have Pinchgut in Australia. World-class performances.

Image by Anna Kucera