With strong reverence and focused effort, the musical ensembles that performed George Frideric Handel’s “Messiah” this past Sunday in Hugo Young Theatre delivered to all in attendance a performance that was both dramatic and thoughtful.

Dr. Rowland Blackley, associate professor of music and director of choral activities at Ashland University, aptly led the University Choir, Chamber Singers, Ashland Area Chorus and Ashland Chamber Orchestra through the well-known oratorio’s three multi-scene parts in a lengthy but engaging performance.

From the orchestra’s overture to the collective ensembles’ final chorus, it was clear that their months of rehearsals were not in vain. Each part, especially the dauntingly long first part, was treated with nothing short of confidence in every section. Whether it was a dramatic group effort or a calmer, quieter recitation by a soloist, it was all carried with care and assured passion.

The chamber orchestra deftly provided instrumental support to the vocal ensembles, acting as the setting to the oratorio’s characters extolling the glory of God.

The considerably smaller grouping of instrumentalists appropriately worked to be like a full orchestra in terms of the sound and quality of their performance, grasping the audience’s attention at once and then easing back to provide the spotlight on a soloist. Among the more notable players to contribute to the concert’s enticingly dramatic feel was Dr. Timothy Guenther, university organist and adjunct professor, and his performance on the harpsichord.

The vocal soloists themselves each sang very well, providing to their respective performances the appropriate tone and effort to mark them as highlights of the concerts. Not one solo was severely lacking, as each was handled with sincerity and evident skill; these particular soloists were wisely picked for their individual roles.

Equally wise was the amount of rehearsal and work put into this piece, as both choirs gave a fantastic effort throughout the performance’s length of more than two hours. A portion of “Messiah” was performed Sept. 12 at the President’s Convocation and it is clear that, since that time, the overall development of Handel’s work has progressed extremely well.

The group seemed to move slightly while standing on the risers, swaying in concert with the music. It was a human element that lent itself well to the piece’s performance.

The scriptural text comprising each part was also handled well, as enunciation and clarity of the lyrics were hardly an issue.

The choirs stayed as one voice for most of the concert, with occasional individual voices rising in volume and sticking out but only slightly; such could most likely be attributed to a heightened sense of emotion in the singers’ forces rather than a lack of ability.

Each section of the three parts was handled with the same artistic skill. Yes, the piece’s famed “Hallelujah” chorus was performed with great passion and vigor, but one could easily point to other portions of the concert and find equally, if not surpassingly, passionate performances from the ensembles.

This very important oratorio was well-handled by the choirs, well-supported by the chamber orchestra, and well-directed by Blackley. For a major performance, these music ensembles rose to the occasion to give a great performance of a great piece of music.