This is the fourth Handel production I have seen in the past 24 months. So far, they have fallen into two camps: gorgeous productions that feel like fully formed operas (San Francisco’s Partenope and the Royal Ballet & Opera’s Ariodante) and ones where the age of the opera shows in static, stand-and-deliver storytelling (Atlanta’s Semele). Unfortunately, Handel’s Messiah falls into the latter camp, which isn’t surprising given it was never intended to be an opera, but an oratorio.
Fortunately, the production was still a feast for the eyes and ears. Director Robert Wilson, who sadly passed away before this performance, didn’t attempt to add a narrative to the piece, but instead leaned into abstraction. I cannot say it always worked, but I also deeply appreciate the effort.
Artistic & Music Director Patrick Summers described Wilson’s style best: “The less you interpret and the more you just feel, the deeper your experience.” I often roll my eyes at descriptions like this, and I was a bit worried when I read it in the program beforehand. I was immediately transported to post-modern art installations I don’t “get.” However, often those same galleries have profound moments, and this opera was similar.
I chose to let it just wash over me. The lighting, costumes, and sets were all surreal. A headless mannequin with a lobster on a leash stood out as particularly Dada-esque. The dancing by Alexis Fousekis was hypnotic (his scene in the ghillie suit made me cackle), and soprano Ying Fang was as lovely as always.
My friend asked if I liked it. I’m not sure? But sometimes we could all use some absurdism in these times.
Opera: Messiah
Composer: George Frideric Handel (adapted by Wolfgang Amadeus Mozart)
Venue: Houston Grand Opera
Date: May 3, 2026
Link: https://www.houstongrandopera.org/on-stage/messiah
Opera Nerd 
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