What do you get when you mix a chorus of 77 volunteers who put their heart and soul into a project and then stir in the orchestral wizardry of the best musicians in the Midwest and beyond? You get Handel's Messiah, which will make you sit up and listen to a classic piece of music performed for nearly 300 years. When you add the trio of Alfreda Burke, Rodrick Dixon, and Karen Marie Richardson, you had better fasten your seatbelt, but only metaphorically. Too Hot to Handel is a much-anticipated annual production that has put a cap on the holiday season for 31 years. It was a great way to end the holiday season on Saturday.
Too Hot to Handel grew from a concept in the mind of renowned Conductor Marian Alsop, who also conducts the Ravinia Music Festival and the Chicago Symphony Orchestra Summer Residency. It was co-arranged by Bob Christianson and Gary Anderson, both with blockbuster resumes of composing and producing music from every kind of media. I wager that you have heard their music on screen and stage, from dazzling musicals to the theme of a news show.
This is my third time seeing the production and my second time reviewing it. I can say that it never grows old. Each time, something more is added that enhances the story from the King James Bible and the mind of George Frideric Handel. The Hallelujah Chorus from The Messiah is one of the best-known passages of music in the world, but the oratorio itself is the New Testament from the Nativity of Jesus to the Book of Revelations.
This year, The Chicago Collective Rhythm section is helmed by Fred Nelson III, who also plays the organ. His gospel bonafide comes from directing music for Aretha Franklin and Jennifer Hudson and composing for film and television. That spiky rhythmic organ sound takes me back to the days of Sunday clothes and ladies shouting with joy. Pianist extraordinaire Alvin Waddles again lends his musical gift with an unforgettable prelude to the Hallelujah Chorus. It's a fusion of ragtime, church, the theme from Sanford and Son, and gliding classical passages. The audience was whooping and laughing with recognition of pieces in the mélange.
George Stellato conducted the orchestra, and Bill Fraher has served as the Choir Director since 1993. Joan Curto directed this production and has been a producer, director, and performer of music all over Chicago. This trio set the stage for three of the finest singers I have heard perform at the Auditorium.
Alfreda Burke is a soprano with a unique, honeyed voice. The clarity of tone and ease of scaling to high notes result in a velvety and deceptively gentle performance. She can sing to the rafters when it is time to jam at the conclusion. Burke shimmered in a jewel-tone gown that changed colors with Matt Miller's lighting mastery.
Tenor Rodrick Dixon gave a four-star performance that brought people to their feet and some to tears. He can scale octaves that most singers do as a falsetto. Dixon is known for his dramatic performances in Three Mo Tenors, performances with his wife, Ms. Burke, and several PBS specials. This year, he added some drama to his performance, acting out the passion and crucifixion. Oratorios are not usually done with acting, but it was appropriate for a gospel performance. It was more about getting the Spirit than acting, which was wonderful.
Alto Karen Marie Richardson also returned this year, bringing a dramatic flair and a sparkling costume change. She floated in from the wings in a tulle confection of a dress. Richardson holds a degree in theater and is an extraordinary singer. I saw her performance in Duke Ellington's Queenie Pie for the Chicago Opera Theater and could see her great talent. I remember thinking she could play Dinah Washinton, which she did in Dinah Was. Richardson imbued her performance with a "Dinah" attitude that dared you to take your eyes off her. She possesses a radiant alto that can go to a low register without struggle. Her second costume gave off angel vibes, which fit the story of the Second Coming.
The audience was on its feet, cheering, singing, and clapping throughout the show, which was encouraged by the performers. It is intended to exalt faith and belief in a new and better earth. It may be due to the turbulent times that we are in, but it felt really good to hear the message and the music. The energy in the Auditorium made everyone seem kinder and happier. I saw nothing but smiles, even from the ushers. I highly recommend that you make time and get tickets for next year. The Auditorium is known as "the people's theater," on Saturday, January 11, it was a cathedral for the people. Somebody shout Hallelujah!
Too Hot to Handel was performed on Saturday, January 11, and Sunday, January 12, 2025, at the Auditorium Theatre, 50 East Ida B. Wells Drive in Downtown Chicago.
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