A ravishingly fine Judas Maccabaeus makes its mark with the Philharmonia Baroque Orchestra and Chorale in San Francisco

Nestled in the pages of biblical times, the story goes that Judas Maccabaeus led the Israelites to victory over the pagan Seleucids in the 2nd century BC. Centuries later, in 1746, Handel made him the subject of an oratorio in three acts by way of honouring the Duke of Cumberland in his victory over the Scottish army at the Battle of Culloden. Although not often widely performed in contemporary times, it’s a work brimming with Handel’s deftness at writing refined and gloriously orchestrated music for soloists and chorus alike. On Sunday afternoon, in the final of four performances in the San Francisco Bay Area, a full house at Berkeley’s First Congregational Church took the opportunity to hear the work presented by the meticulously prepared Philharmonia Baroque Orchestra and Chorale under the baton of Nicholas McGegan.

Robin Johannsen as Israelitish Woman and Nicholas Phan as Judas

With an English libretto by Thomas Morell, who went on to write several librettos for Handel’s oratorios, it’s a rousing message for a call to arms to restore faith. For the Israelites, a hard-earned jubilant ending ensues that brings peace to its people and an alliance with the Romans against the Seleucid Empire. For contemporary ears, it is also a reminder of the countless chapters of unrest the region has endured.

If it was the only time you ever heard it in performance, Judas, personified by tenor Nicholas Phan, will be remembered as a distinguished and charismatic leader. Phan’s Judas was commanding and heroic, yet subtly youthful. And, in characteristic recitative followed by aria form, Phan’s recitatives were crystal clear and expressive, his arias radiant and alive. Taking centre stage midway through Act One, a rich and authoritative sound came in Phan’s first aria, “Call forth thy pow’rs”. What was to come impressed further. 

In Act Two’s “How vain is man”, in which Judas preaches God’s authority in guiding man’s victory in war, Phan’s powerful staccato runs and broad range brought much to his performance. Then, in “Sound an alarm”, multiple shades of drama in a voice as polished as the brass followed in what became a pageant of splendid orchestral results. And it’s all too rare having the double bass take the ear’s undivided attention but before all this majestic might, Kristin Zoernig let her instrument add its own ravishing highlight.

Robin Johannsen as Israelitish Woman and
Sara Couden as Israelitish Man

Judas’ younger brother Simon, instrumental in summoning the people after the death of his father Mattathias, stood comfortably, if somewhat left in Judas’ shadow, under the command of golden-grilled baritone William Berger. In Act One’s “Arm, arm, ye brave!” Berger struck with power and brought increased colour to Act Two’s “The Lord worketh wonders” and “With pious hearts”. 

As the remaining two leading soloists, mezzo-soprano Sara Couden and soprano Robin Johannsen made an impactful pair while showing great rapport as the Israelitish Man and Israelitish Woman respectively. They certainly get much of the frontline singing and most of the shining arias, the two heading the soloists out in a beautifully chartered duet “From this dread scene”. Johannsen’s bright and pure tones touched Act One’s “Pious orgies, pious airs” with sublime force at its most delicate and lulling. In Act Two’s “From mighty kings”, four lines of text burst forth in triumphant praise for Judas as Johannsen’s coloratura gleamed, taking to her music with seeming effortlessness.

Couden was a huge sensation in everything she delivered - a model performance leaving you in no doubt her star had ascended. The strength of Act Two’s “So rapid thy course is” seemingly heralded a grand future for her nameless Israelitish Man, turning the stave into an outstanding elastic beauty as she leapt from chest to head voice in what would make a coveted vocal lesson. Couden’s whopping cavernous lows came with unshowy pride and the audience couldn’t hold back the applause! Later, opening Act Three with “Father of Heav’n!” and imploring God’s blessing on festivities, Couden began with angelic strains before building up a masterpiece of succulent, mobilising voice.

Soloists, Chorus Director Bruce Lamott and
Conductor Nicholas McGegan
with the Philharmonia Baroque Orchestra 

Big moments, too, exist for a chorus of Israelites and the Philharmonia Baroque Chorale, a smallish number of 26 choristers, were a resounding group, singing with highly attractive and varied gradation while communicating their sentiments with a convincing air. Act Three’s “See, the conqu’ring hero comes!” was a spectacular showcase for chorus and orchestra in elevating Judas to God’s plane. 

Judas Maccabaeus often feels like it doesn’t say much in saying a lot. Still, as conductor Nicholas McGegan steered a thoroughly expert and tightly tuned orchestra, and offered the music up in a respectful and sensitive homage to Handel, the possibility of not hearing it again in performance struck me with a sense of sadness.


Judas Maccabaeus
Philharmonia Baroque Orchestra and Chorale
First Congregational Church, Berkeley, CA
8th December, 2019


Production Photos: Frank Wing