The choice of last night's opening concert of the Edinburgh International Festival was thought by many to be an insensitive one. Handel's Oratorio Judas Maccabeus was composed in honour of the Duke of Cumberland's victory over the Jacobites when they were annihilated by his troops at the battle of Culloden in 1745.
With words by Thomas Morrell, the composition includes the famous aria - "See, the conquering hero comes" commemorating Cumberland's victory.
However, notwithstanding the controversy, the Edinburgh Festival Chorus (Christopher Bell is the Chorus Master) and the Scottish Chamber Orchestra created some sumptuous sounds out of this relatively mediocre composition.
Written in 1746, and first performed the following year, the oratorio relates to the period 170-160BC when Judea was under occupation by the Selecucids. In three parts it describes the turbulence of the fortunes of the Jews at that time and concludes with the triumphant chorus "hallelujah, Amen."
Conducted adroitly by William Christie, a renowned baroque specialist, he
warmly endeared himself to the choir when they first met at rehearsal by
shaking each and everyone's hand. And with his expertise of the period he
elicited a great performance from the orchestra - particularly the cello and
brass sections who played flawlessly. The soloists voices of the
Israelitish Woman and Man - sung by the soprano Rosemary Joshua and
mezzo-soprano Sarah Connelly - blended beautifully in the duets and the
voices of the Edinburgh Festival Chorus swelled majestically in the Chorus
of Israelites.