Handel and the Greek maestro

In the quiet university town of Goettingen, nestled in Lower Saxony, a unique cultural phenomenon continues to unfold under the baton of Greek conductor George Petrou. Known for his deep commitment to historically informed performance practices, Petrou has served as the artistic director of the International Handel Festival since 2018, and recently secured a new five-year contract extending his tenure until 2028. This festival, now a cornerstone of Goettingen's cultural calendar, has become a beacon for enthusiasts of Baroque music and historical performance practice.

Petrou's recent rehearsals for the oratorio "Messiah," composed by George Frideric Handel in 1741, highlight the festival's dedication to reviving the works of one of history's most influential composers. The rehearsal took place at the Junges Theater, where Petrou frequently conducts, and was attended by members of the orchestra and choir who have participated in previous editions of the festival. The atmosphere was electric, with moments of intense focus punctuated by brief exchanges between Petrou and the performers, who responded with reverence and precision to his directions in English. After the soprano Ana Maria Labin performed the aria "I Know that My Redeemer Liveth," the ensemble acknowledged her with a respectful bow, underscoring the collaborative spirit that defines the festival.

Following the rehearsal, Petrou invited the observer to a Vietnamese restaurant in the center of Goettingen. The city, home to one of Europe's oldest universities, has long attracted scholars and artists from around the world. Among its notable alumni was the Greek poet and short-story writer Georgios Vizyinos, who studied there in the late 19th century. However, despite Goettingen's rich intellectual heritage, it did not attract the attention of George Frideric Handel, who was born in Halle in 1685 and later settled in London, where he remained until his death in 1759. In London, Handel composed some of his most celebrated works, including the "Hallelujah" chorus from "Messiah" and the coronation anthem "Zadok the Priest." These compositions have become integral parts of Western musical tradition, particularly in royal ceremonies and sporting events.

The revival of Handel's operatic legacy in Goettingen can be traced back to 1919, when German art and music historian Oskar Hagen discovered forgotten Handel scores during his convalescence from influenza. Inspired by these rediscoveries, Hagen initiated a series of private performances that laid the foundation for the International Handel Festival, which officially began in 1920. The festival quickly gained momentum, leading to the first public production of Handel's opera "Rodelinda" at Goettingen's municipal theater. This success marked the beginning of a broader resurgence of interest in Handel's operatic works, many of which had fallen into obscurity.

As the current artistic director, Petrou aims to continue this legacy by presenting both "Messiah" and "Deidamia" at the conclusion of this year's festival. Both compositions date back to 1741 and represent pivotal moments in Handel's career. "Deidamia," the last opera Handel composed in England, signified the end of his operatic phase, while "Messiah" marked the beginning of his prolific output of oratorios. Petrou emphasized the significance of performing these two works in sequence, highlighting their thematic and chronological connections.

Petrou's reputation extends beyond Goettingen, with accolades from prestigious labels such as Deutsche Grammophon, Decca, and MDG. His expertise lies in recreating the sounds and styles of Baroque music as they would have been experienced in the 18th century, utilizing period instruments that reflect the craftsmanship of the time. While his repertoire includes a wide range of genres—from bel canto operas to classical symphonies—his work with Handel's music remains central to his identity as a conductor. This dedication to authenticity and historical accuracy has solidified his status as a leading figure in the field of early music performance.