Handel's Messiah with Laurence Equilbey and the NSO

French conductor Laurence Equilbey makes her much-anticipated debut leading the National Symphony Orchestra in Handel’s Messiah, December 14-17 at the Kennedy Center Concert Hall. Maestra Equilbey founded the choral group Accentus in 1991, and in 2012, the Insula Orchestra—why “Insula?” because it is the orchestra in residence at La Seine Musicale, an ultra-modern music and performing arts venue located on an island in the Seine river outside of Paris. She was gracious enough to chat with WETA Classical via e-mail. 

Nicole Lacroix: I stumbled on a video you did for Paris Worldwide, where you mention a favorite walk in Paris on the quays of the Seine near the Palais Royal, and you said it reminded you of Washington, very open with lots of light. Thank you! We’re flattered, after all a Frenchman did design Washington. We are so happy to welcome you to DC. What can we expect from your concept of Handel’s Messiah? 

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Laurence Equilbey: I really like the large form of the Messiah, this arc is perceptible to the audience. I try to reinforce the character of the chapters: the announcement of the birth, the shepherds, then the passion of Christ, the fight against death, and finally the victory over evil and the mystery of the resurrection. It's very well constructed and very varied between the stories, arias and choruses. And then there's my Baroque conception, a style I know well from my studies in Vienna, particularly with Nikolaus Harnoncourt, and also thanks to my work with my historic orchestra, Insula orchestra. There's a lot to be found in the articulations, nuances, balances and colours of the continuo. Another important area of research is the spirit. The freshness of youth alternates with great spiritual density and an often impressive majesty. 

NL: Why do you think this masterpiece has been so loved for more than 280 years, by religious and non-religious alike? What can it bring to us in 2023? 

LE: Messiah is certainly a sacred work, but its form is very different from Handel's other oratorios. Its libretto is taken entirely from the Bible; there is no real dramaturgical action, no real embodied characters: its message is more metaphysical than purely religious, with a universal scope. It's a work that speaks of hope, humanity, joy... All things we desperately need in these turbulent times! 

NL: Handel was a theater composer, and he takes Baroque word-painting to exquisite heights. There is a visual and visceral character to the music. We feel the ecstasy in the word “exalted” we feel the fear when the bass sings “I will shake all nations,” we “see” the angels’ wings fluttering. It is very easy for the audience to understand what he is trying to express. I wonder if that is part of Messiah’s popularity? 

LE: That's what I think! The key role of the choir is probably another explanation for the work's success: when you hear these great choruses, and of course the Alleluia, you really want to sing along, so infectious is the emotion and energy they convey! The accompagnato moments are also extremely successful. 

NL: Is Messiah fun to conduct? 

LE: Messiah is undeniably a difficult work to conduct. The music is highly refined, and requires great precision to achieve its emotional effect. The soloists, chorus, musicians and I all have to remain highly concentrated and sincere throughout the work! But the atmospheres of the different numbers are so different, from a highly theatrical recitative to a massive choral explosion, that it's a real pleasure to find ways of expressing them. Another challenge for the conductor is the choices he makes regarding strings articulations, ornamentation, dynamics and continuo. This is one of the scores for which you have the most decisions to make in advance of rehearsals. But in the end, yes, we have fun. 

NL: Speaking of visual elements, you have innovative projects where you bring other art forms to your musical performances with your Insula orchestra, or you mix old forms with new technology. Do you have any new plans along these lines in Paris or elsewhere? 

LE: This season will be marked by a new stage creation entitled Beethoven Wars, in May 2024 at La Seine Musicale in Paris. This production will then travel the world. This innovative show transposes two of Beethoven's incidental music (King Stephen and The Ruins of Athens) into a 2D and 3D animated film with a Manga aesthetic. It's an ambitious musical and scenic project that we're working on with director Antonin Baudry and renowned mangakas. The film will also be shown in immersive domes. Beethoven speaks of peace, law and the importance of the arts for humanity. It's also a project for young people, those who are unfamiliar with classical music and whom we want to reach out to. This kind of approach takes us out of our comfort zone and leads us to make imaginative and creative efforts. It's very stimulating. After this one, we'll be staging Robert Schumann's Le Paradis et la Péri in May 2025, which is inspired by a Persian philosophical tale. I believe that working on the work for the stage will serve the message of this score and its libretto enormously. 

NL: Before I forget, you invented an e-tuner. What is that? 

LE: The e-tuner is an innovative electronic tuning mobile application, designed by Laurence Equilbey and Accentus with the support of the Orange Foundation. It is intended for singers and composers, professionals, students and amateurs, in order to facilitate their practice, particularly in contemporary music. This application is presented in the form of a keyboard and offers among other, alteration of notes by 1/4 or 1/3 of a tone, and chord creation. For composers the app enables reading and programming of notes played in midi codes. The tuning app is of unequalled precision while allowing real artistic and spatial freedom. It can be used in direct sound or with an earphone. This application is downloadable by anyone, in iOS & Android versions from anywhere, and free of charge. 

NL: What do you think are ways to broaden the attraction of classical music for audiences of all ages? To introduce new music to sometimes fearful audiences? 

LE: Enabling all audiences to experience music and come to a concert is a key aspect of Insula orchestra's project. At La Seine Musicale, we cater for children and parents, young people, the elderly, newcomers and those far removed from culture. Throughout the season, we develop an extensive educational and inclusive program. Around each production, we also offer family workshops, edifying videos in an humoristic style, comics... The multiplication of actions around artistic projects brings people together and completes the concert experience. It's also a way of breaking down the barriers that separate us from one another. The most important thing is to open several doors to access a work.

NL: What about young people? How do you interest them in music? 

LE: It's undeniable that the visuals and the (short!) concert formats open the door to young people. We're setting up a project dedicated to 17-28 year-olds. As Oscar Wilde said, “Life imitates art much more than art imitates life”, and it's important that these young people are inspired during this particular period of their lives. We have designed a specific program for them and founded a club called Insulab. Our stage projects such as Beethoven Wars are partly aimed at them, as visuals are very important to young people today, as is getting together. For this Beethoven project, there will be a cosplay evening. We also organize meetings with artists, we propose before or after concerts, after-concert parties, escape games... 

NL: You are a champion of women composers (Louise Farrenc, for example). Who are some we should watch for? (historical and new) 

LE: In fact, as a conductor, I defend women composers, because I'm convinced that it's important to value our heritage. For all the little girls who dream of making a living from their passion once they're adults, for all the female students currently studying at Conservatoires, we need to look at our own practices and contribute to this indispensable and essential balance if we claim to be "artists" before society. With Insula orchestra, we have a roadmap for performing works composed by women such as Louise Farrenc, Emilie Mayer, Fanny Hensel-Mendelssohn or Clara Schumann. We owe it to these works, which often did not resonate during their composer's lifetime, to perform them with the greatest possible care. So that these talents, still in the process of being rediscovered, finally find their rightful place in symphonic programs and discography. The accentus choir also strives to have a gender balanced catalog of commissions. For example, Lily Boulanger, Clémence de Granval for the matrimonial repertoire, or Sivan Eldar's new work "The stone, the tree, the well" , wich will be premiered in 2024. 

NL: Speaking of women, do you think that women conductors have made progress in the past few years? 

LE: It's a sensitive issue today, yes, more so than ever before. Some major orchestras are offering podiums to women conductors. I hope this will be a lasting trend. The fact remains, however, that the question of women's expression in culture in positions of responsibility is very weak, and that this point is quite shocking in this day and age. We have to do everything we can to balance things out and ensure equal opportunities for success. 

NL: What advice would you give to a young woman just starting out as a conductor? 

LE: Here's some advice for men too: always study the context of a work, its execution practices and the issues at stake. Know strings technique and how to adjust intonation. For women: don't be naive and think that talent is the only parameter for being hired. 

NL: Thank you so much for taking the time to answer these questions for WETA Classical. Frankly, your career is so impressive and varied that it is difficult to stick to just a few topics. We greatly look forward to welcoming you on stage at the Kennedy Center. 

Program 

Handel’s Messiah 

National Symphony Orchestra 
Laurence Equilbey, conductor 
Robin Johannsen, soprano 
Christopher Lowrey, countertenor 
Aaron Sheehan, tenor 
Jonathon Adams, baritone 
University of Maryland Concert Choir/Jason Max Ferdinand, Artistic Director 

Thursday, December 14 at 7 pm 
Friday, December 15 at 8 pm 
Saturday, December 16 at 8 pm 
Sunday, December 17 at 1 pm