Saturday, December 13th, 2025 @ 7:30pm
Southminster United Church, 15 Aylmer Ave, Ottawa
Visit the concert page for the livestream and post-performance recording.
CONTENTS
Word of Welcome from the Chair
An Introduction by the Music Director
Program
Program Notes
Performers
Rideau Chorale
Special Acknowledgement
Donors & Sponsors
Upcoming Concerts
Program Text
WORD OF WELCOME FROM THE CHAIR
Welcome to Rideau Chorale’s 10th Anniversary concert! In the past decade, we’ve grown from a rag-tag group of folk and pop singers into a polished chorale society, thanks to our current and founding Music Directors: Kevin Reeves and Roland Graham.
Tonight is a special night, as we return to Handel’s Messiah, which we last performed in 2018. Our rehearsals have demonstrated our musical growth over the past decade and we are delighted to share this with you tonight.
Handel’s Messiah is a much-loved work identified by many with this holiday season.
Joining us tonight are wonderful soloists from across Canada and an equally wonderful group of instrumentalists who make up our orchestra. Also, for the first time, Rideau Chorale has partnered with The School of Dance to share a unique interpretation of the Pastoral with you.
Our thanks to all the talented professionals joining us in this landmark celebration.
Rideau Chorale is a volunteer-run, charitable organization and we rely on the support of donors and sponsors. Your generosity allows us to stage these concerts and work alongside, and learn from, professional musicians. Also key to our efforts are the dedicated volunteers, both choir members and others.
There is another group essential to our ability to share this wonderful musical experience and that is, of course, you. Thank you for allowing us the pleasure of singing for you.
We continue to welcome singers from across the region. Check out our website for more information about our activities and how you can support Rideau Chorale.
Enjoy the performance!
Janice Manchee
Chair, Rideau Chorale Executive
AN INTRODUCTION BY THE MUSIC DIRECTOR
It’s a great pleasure to welcome everyone to Rideau Chorale’s 10th Anniversary concert of Handel’s Messiah. It’s one of the world’s best-loved masterpieces for good reason: Baroque counterpoint at its very best, which manages to convey great sorrow, tremendous joy, and everything in between.
I feel privileged to conduct such enthusiastic choristers and superb instrumentalists, alongside Ania, Mark, Jean-Philippe, and Alasdair – all of whom I’ve known and watched develop over many years. A special nod to Roland Graham, founder of this ensemble. Also, a great deal of thanks to Carson Becke, our rehearsal accompanist, as well as our Executive Committee, which keeps the ensemble healthy. Even though I’m facing the wrong direction, I look forward to seeing you at many more concerts with Rideau Chorale!
Kevin Reeves
Music Director, Rideau Chorale
PROGRAM
Messiah
PART ONE | Text
INTERMISSION
Pastoral Symphony (orchestra and dance)
PART TWO | Text
PART THREE | Text
PROGRAM NOTES
In early April 1759, an elderly and blind George Frideric Handel collapsed during a performance of the Messiah in London. Though his health had been worsening and he had been unable to compose for several years, he played the organ at each of the eleven oratorio performances that Lenten season. He was rushed home to his house in Mayfair, where he died two weeks later on April 14. Handel was given a state funeral at Westminster Abbey, attended by 3,000 people, and the monument overlooking his grave shows him holding a score of Messiah, open to the aria “I know that my Redeemer liveth.”
Born in Halle, Germany in 1685, the young Handel was initially discouraged from pursuing music by his cautious barber-surgeon father, who wanted him to study law instead. The child showed a great deal of promise as a keyboardist, and his father was persuaded to let him study under a local composer and organist, Friedrich Wilhelm Zachow. Following his father’s death, Handel studied at the University of Halle for a short period before relocating to Hamburg to join the opera, first as a string player and then as a harpsichordist and composer. In 1705, at the age of twenty, he wrote the opera Almira, his first great commercial success. The following year, he travelled to Italy at the invitation of Prince Ferdinand de’ Medici. For four years, he refined his already Italianate style of composition and rubbed elbows with the important musicians and patrons of Florence, Rome, Naples, and Venice. Among the composers he became acquainted with were Arcangelo Corelli and Domenico Scarlatti.
It was here that he first became acquainted with the genre of the Italian oratorio, otherwise known as ‘sacred opera.’ The genre of the oratorio emerged in Italy in the late sixteenth century around the same time that the first operas were being performed. Early oratorios were sung, unstaged dramatic works based on biblical stories, often performed within churches. Later in the century, these works grew in scale and complexity and began to be performed in public theaters. By the mid-seventeenth century, the oratorio had assumed the same structural components that make up opera– the aria, recitative, and chorus. The oratorio was particularly popular when opera and other dramatic performances were prohibited during the season of Lent. It provided musicians who usually performed opera with work, and allowed entertainment-starved crowds to enjoy seasonally-appropriate diversions. Handel first cut his teeth at composing oratorios in the Italian style with the 1707 Roman premiere of Il trionfo del tempo e del disinganno (The Triumph of Time and Truth).
In 1710, Handel accepted the position of Kapellmeister to Prince George, the Elector of Hanover, but lasted barely eight months in Germany before he abandoned his post and travelled to London to premiere his massively successful opera, Rinaldo. This was the first opera seria (Italian dramatic opera) written for performance in England. The English appetite for Italian opera was just beginning to grow, and after two years, Handel permanently settled in London, where he would live for the rest of his life. Over the next thirty years, Handel wrote almost forty Italian operas for London’s stage and was considered the premier composer of opera seria in the country.
In the late 1730s, Handel’s life took a sharp turn. He suffered a stroke in early 1737, which left his right hand temporarily paralyzed, and worst of all, the popularity of Italian opera had begun to wane. After the 1741 premiere of Deidamia, Handel pivoted his focus entirely to writing English oratorios. His first attempt at this new form had been in 1732, when he set an adaptation of Jean Racine’s sacred drama Esther to music. While the production was commercially successful, audiences were slow to adjust to the sound of Italian opera singers singing in English. The famed castrato, Senesino, reportedly garbled the line “I come my queen to chaste delights,” and made it sound like “I comb my queen to chase the lice.”
Nearly a decade later, Handel revisited the form when he composed the first draft of Messiah in a frenzied 24-day spurt of energy following a bout of ill health in 1741. This was in anticipation of a visit to Dublin at the end of the year, where, at the invitation of the Lord Lieutenant of Ireland, he organized a subscription series of six concerts at the New Music Hall on Fishamble Street. These concerts were so popular that a second series was ordered, and Handel stayed on for longer than first anticipated. Much to the surprise and dismay of the Messiah’s librettist Charles Jennens, who had intended for the piece to be performed during Easter, Handel arranged for Messiah to be premiered at the New Music Hall several weeks after Easter on April 13, 1742. Irish audiences received it with great enthusiasm, but its reception at Covent Garden the following year was more mixed. Many people believed that it was inappropriate to perform music about sacred subjects in secular theaters, even if the performances were billed as charity concerts, as the Messiah had been. This was a mixture of secular and sacred that the English public had not encountered before.
Handel borrowed the basic idea of the sacred opera, but infused it with some Northern influences. His early exposure to German Lutheran choral music, like Bach’s chorale cantatas, as well as his familiarity with the robust English choral tradition, left a great impression on his English oratorios. Most importantly, the role of the chorus grew in importance. Early oratorio often took the form of a dialogue between different solo characters with some group singing interspersed between movements. English oratorio, much like a Greek chorus in classical drama, the oratorio chorus comments on events, narrates, and participates in the action. While Handel certainly drew from Bach and other German Lutheran composers, what sets his choruses apart from theirs is Handel’s experience as a composer of opera. Unlike Bach, who worked for churches for most of his life, the large majority of Handel’s work was in creating dramatic, entertaining music that would draw in audiences and sell tickets. Thus, he wrote in a simpler, less contrapuntal style, crafted memorable melodies, and wrote orchestral lines that often double the parts sung by the chorus, all of which make singing Handel an undeniable pleasure.
Messiah features an unusual libretto. Instead of presenting a biblical narrative, as in his previous oratorios Saul and Esther, Messiah’s text is a meditation on the Christian idea of redemption. None of the singers assume a character or are assigned a role. Charles Jennens, who compiled the libretto from extracts of the Authorized (King James) Version of the bible and from Psalms in the 1662 Book of Common Prayer, structured the work into three parts. The first part, commonly referred to as the Christmas section, draws from Old-Testament Hebrew messianic prophecies as well as passages from the Gospel of Luke, which represent the annunciation of Christ’s birth to the shepherds. Part two, the Easter section, spans the passion, death, and resurrection of Christ, the spreading of the gospel throughout the world, and culminates in the “Hallelujah” chorus. Part three, decidedly less narrative than the first two sections, is about the promise of redemption through Christ, the promise of universal resurrection after the Day of Judgment, and Christ’s ultimate victory over death.
Jennens, a devout Anglican, compiled these passages as a protest against the growing popularity of Deism, a philosophy that rejects the concept of divine revelation and intervention. By selecting Old Testament verses about a coming messianic figure, Jennens wanted to prove that the life of Jesus Christ was prefigured in the Hebrew Bible. For example, the text of the beloved aria “Rejoice Greatly, O Daughter of Zion” predicts the coming of a king who, much like Christ, will arrive in Jerusalem riding a donkey, who will “speak peace unto the heathen”, and rule the entire world. This passage is taken from Zechariah 9:9-10, a Hebrew prophet who wrote around 500 BCE, during a time when the Israelites had just returned to Judah from Babylonian captivity and were building the Second Temple. Christians often interpret these passages as referring to Christ, but most Jewish people believe that the Messiah is yet to come.
While many modern secular audiences are less familiar with some of the texts that Jennens used, particularly stories from the Hebrew bible and Apocrypha, these were well-known to the middle-class eighteenth-century Protestant audiences who flocked to hear the Messiah. Handel spent the first three decades of his compositional career writing Italian Opera, which featured plots based on classical mythology and history. These resonated with educated upper-class and aristocratic audiences, but were completely inaccessible to the average person due to their unfamiliar themes, language, and high ticket price. Oratorio, on the other hand, was affordable and easy to understand. In addition to all of this, during an era of great imperial expansion in English history, oratorios with Old Testament stories like Saul, Israel in Egypt, and Judas Maccabeus held tremendous appeal as narratives of the heroic trials and exploits of ‘god’s chosen people,’ something English audiences felt they could relate to.
Consequently, Handel’s greatest commercial success, Messiah, soon travelled overseas to England’s colonies and became a seasonal favourite. Messiah’s North American premiere was at Trinity Church in Manhattan in October of 1770, twenty-eight years after its composition. Even after the collapse of the British Empire, Messiah remains a popular staple throughout its former colonies, including Canada, Australia, Nigeria, Kenya, and South Africa. Messiah has previously been upheld as a symbol of British imperial power, and even sometimes used as a tool of cultural assimilation and religious conversion. However, its overwhelming message of hope and love and its captivating melodies have ensured that there hasn’t been a single year since its initial composition in 1741 that Messiah has gone unperformed. From sing-along Messiahs, historically-informed interpretations, jazz gospel Messiahs, to Inuktitut, Dene, and Arabic translations, Handel’s music is evergreen.
Renée Olo
PhD Candidate, Historical Musicology, University of Pennsylvania
PERFORMERS
Kevin Reeves, Music Director & Conductor
As a chorus master, Kevin has prepared choirs for many international conductors – mostly through the National Arts Centre – including Trevor Pinnock, Franz Paul Decker, Lydia Adams, Jiri Belohlavek, Iwan Edwards, Robert Cooper, Jean-Francois Rivest and Pinchas Zukerman. Kevin is also a composer and three years ago presented the world premiere of his comic opera ‘Nosferatu’ – based on the filming of the 1922 silent classic. He has also recently completed a full-length opera based on the true story of Anahareo and Grey Owl’s life in the bush.
In his spare time, Kevin directs documentaries, short films, dramas and Classical music videos and has won several international awards as a result. His hobbies include drawing caricatures, collecting original cartoon art, painting landscapes, and watching a lot of television – good and bad.
Soloists
Ania Hejnar, Soprano
Described as a voice with “great beauty and vocal agility,” local soprano Ania Hejnar has been performing for international platforms since graduating with her Masters in Vocal Performance from the University of Ottawa, including Carnegie Hall, Notre-Dame Cathedral (Ottawa), Notre-Dame Basilica (Montreal), Maison Symphonique, the NAC, and Varnus Hall. She has performed for Prime Minister Justin Trudeau and Her Excellency the Right Honourable Mary Simon, including the Order of Canada with distinguished guest, Hollywood director James Cameron. Ania is a versatile performer as a classical singer, crossover musician, actor, voiceover artist and can be heard singing national anthems for many sports teams including the Ottawa Senators. Some notable performances include Mozart’s Great Mass in C Minor, Orff’s Carmina Burana, and Mozart’s Die Zauberflöte as the Queen of the Night and Handel’s Cleopatra. Ania is the music and drama teacher at Glebe Montessori School and maintains a private studio where she teaches voice and violin.
Mark Donnelly, Countertenor
Countertenor Mark Donnelly returns to sing the alto solos in Handel’s Messiah directed by Kevin Reeves – his first singing teacher. Former head chorister at Ottawa’s St. Matthew’s Church, Mark later studied with Laurence Ewashko (University of Ottawa), Jan Simons (McGill), Bruce Pullen (UBC), Selena James (Victoria Conservatory), Virginia Davids (UCT, Cape Town), and at Germany’s International Baroque Academy. As a treble he recorded Bach to the Future and An Afternoon of Treble, and sung a lead in Hallelujah Handel (Classical Kids). Engagements across North America, Europe, and Africa include Monteverdi’s Nerone, Britten’s Oberon, Bach Passions, and several premieres. Mark is dedicated to music’s power to inspire and unite and has worked on humanitarian projects, designed youth programs, and contributed to international development research. Offstage, he enjoys activities on courts, slopes, trails, peaks, rivers, and oceans – moving in harmony with Nature’s music.
Jean-Philippe Lazure, Tenor
Jean-Philippe Lazure is a graduate of the Canadian Opera Company’s elite Ensemble Studio where he sang Don Curzio in their production of Le Nozze di Figaro, and Conte Almaviva in Il Barbiere di Siviglia. Mr. Lazure portrayed Cartier and Father André in the Canadian Opera Company’s acclaimed production of Louis Riel in Toronto, Ottawa and Quebec and sang the role of Georgie in Opera on the Avalon’s 2018 production of OURS (Estacio), commemorating the Royal Newfoundland Regiment in World War I.
Jean-Philippe sang with Winnipeg Symphony in Handel’s Solomon and was the tenor soloist in “God, Thy Earth is Aflame” by Latvian composer Lucija Garuta, with Ottawa Choral Society. Further concert engagements include St. Matthew Passion with Choeur Classique de Montreal and Bach’s Lutheran Masses with Choeur St. Laurent.
Guest performances for Mr. Lazure include Handel’s Messiah with Amadeus Choir, Gatineau Symphony and Chorus Niagara.
Alasdair Campbell, Bass
Toronto-born baritone Alasdair Campbell’s musical life began quite young when he joined the Choir at St James Anglican Cathedral. Having a licentiate in voice at McGill, Alasdair also holds a B.Sc. (Chemistry) from Carleton University. Alasdair has been a chorister with the Studio de musique ancienne de Montréal, the Ottawa Bach Choir, Temps Fort, and Ensemble ArtChorale.
Alasdair portrayed the Vicar in Britten’s Albert Herring at McGill in fall 2018 and Papageno in spring 2019, a role he reprised with Allegra Chamber Music. In fall 2019 he performed as baritone soloist in Handel’s Messiah with the Durham Community Choir and in Haydn’s Paukenmesse with the Stewart Hall Singers. In spring 2021 he interpreted Belfiore in Verdi’s Un Giorno di Regno at McGill. In fall 2021 he portrayed Halim with Chants Libres in the world premiere of Zad Moultaka’s L’Orangeraie.
Other roles include Il Conte Robinson in Cimarosa’s Il Matrimonio Segreto with OperOttawa, George Wilson in the premiere of Andrew Ager’s The Great Gatsby in 2024 and the villainous Adolf in Dvořák’s Jakobîn with Opera by Request. He also created Role 3 in the musical-poetic work Songs of the Drowning in October 2025 with Chants Libres in Montreal and sang Achille in Giulio Cesare with OperOttawa in November.
Sarah Zaugg, Dancer
Sarah is a freelance ballet dancer currently working out of Ottawa, Ontario. As a pre-professional student she studied at The School of Dance in Ottawa, before moving to Winnipeg to further her ballet education. She is a graduate of the Royal Winnipeg Ballet School,and has had the privilege of dancing in a number of large scale ballet productions including The Nutcracker, Swan Lake, Sleeping Beauty, and Romeo and Juliet. Sarah has worked closely with a number of renowned choreographers including Yosuke Mino, Gabriela Rehak, Anna-Marie Holmes, Lesley Telford, Meredith Rainey, and Jean Grand-Maître.
Thank you to The School of Dance for facilitating Sarah Zaugg’s performance.
Instrumentalists
Violin 1: Adam Nelson
Violin 1: Maluki Laverdure
Violin 2: Maria Nenoiu
Violin 2: Mandela Laverdure
Viola: Olivier Philippe-Auguste
Viola: Shannon Mardan
Cello: Gabriela Ruiz
Bass: Jordan Sirvin
Oboe: Celina Hawkins
Trumpet 1: Nick Dyson
Trumpet 2: Christa Lowry
Timpani: Zac Pulak
Harpsichord & Organ: Marie Bouchard
RIDEAU CHORALE
Executive Committee Members
Chair: Janice Manchee
Treasurer: Miriam Bayly
Secretary: Jocelyn Stoate
Membership Coordinator: Marty McCurdy
Members-At-Large: Mark Olo, Pamela Robinson
Artistic Leadership
Music Director: Kevin Reeves
Accompanist: Carson Becke
Performing Members
Soprano: Miroslawa Bilaniuk, Sheila Craig, Gabrielle Dewalt, Kathy Dobbin, Rhona Einbinder-Miller, Zoë Fairbairn-Parent, Sylvia Grambart, Paula Hurtig, Elizabeth Irvine, Frances Isaac, Carolyn Konopski, Anna Lehn, An Ngo, Marcela Pauckova, Jocelyn Stoate, Liz Tromp, Anna van Holst Pellekaan, Dorothy Wood.
Alto: Miriam Bayly, Anne Bowker, Lesley Cameron, Hélène Caron, Hilary Esmonde-White, Isabella Grigoroff, Johanne Guay, Olivia Hadwen, Marie-Odile Junker, Angela Kelly, Lori Marsh, Pamela Robinson, Linda Russell, Laura Smith, Mary Wilson, Maha Zayed.
Tenor: Keith Bider, Sarah Dewalt, Janice Manchee, Yves Ménard, Peter Robb.
Bass: Donald Leek, Greg Lopinski, Ian MacMillan, Ian Nicol, David Oliver, Geoffrey Oliver, Mark Olo, Archibald Ritter, John Royle, Tim Schobert, Jacob Zwiers.
Personnel
Webmaster & Technology: Emily Walpole
Choir Coordinator: Mikayla Odut
Volunteers
Rideau Chorale deeply appreciates the contributions of our volunteers.
Score Procurement: Hilary Esmonde-White, Anna van Holst Pellekaan.
Section Leads: Gabrielle Dewalt (Soprano), Angela Kelly (Alto), Keith Bider (Tenor), John Royle (Bass).
Set-up: Elizabeth Irvine, Angela Kelly, Greg Lopinski, Lori Marsh, Geoffrey Oliver, Linda Russell, Jacob Zwiers.
Sponsorship & Fundraising: Paula Hurting, Janice Manchee, Yves Menard, Mark Olo, Liz Tromp.
Supplies & Storage: Paula Hurtig John Royle.
Website: Janice Manchee, Jocelyn Stoate.
Concert Team: Janice Manchee, Mark Olo, Pamela Robinson.
Concert Marshall: Anna van Holst Pellekaan.
Concert Program: Mark Olo, with special thanks to Renée Olo.
Front of House: Frances Baker, Edith Fraser, Sharon Ginsberg, Bryan Halliday, Bobbi McLachlen, Shay McLachlen, Charles Robinson, Janice Seline, Beth Smith, Melissa Trépanier, Michael Trépanier, Peter Zanette.
Concert Staff
Audio & Video: Ken Parlee
Technical Support: Eliah O’Byrne
Graphics: Emily Walpole
SPECIAL ACKNOWLEDGEMENT
Rideau Chorale and its members respectfully acknowledge that the land on which we gather, rehearse, and perform our music is the traditional unceded territory of Algonquin Anishnaabeg People. We are grateful to have the opportunity to be present in and perform on this land.
DONORS & SPONSORS
Donors
Rideau Chorale wishes to acknowledge the generosity of our valued donors in helping us to present this concert. Gifts such as these make it possible for the choir to cover the considerable costs involved. If you are interested in making a donation (tax-deductible), learn more on our website
Premium Donors
Sponsors
We would also like to thank the businesses whose generous sponsorships have supported this concert. We encourage you to patronize our business sponsors and let them know that you appreciate their support of Rideau Chorale.
Premium
Business
Community
UPCOMING CONCERTS
PROGRAM TEXT
PART ONE
2. Comfort ye, my people
Comfort ye, comfort ye my people, saith your God. Speak ye comfortably to Jerusalem, and cry unto her, that her warfare is accomplished, that her iniquity is pardoned. The voice of him that crieth in the wilderness, Prepare ye the way of the Lord, make straight in the desert a highway for our God.
3. Ev’ry valley shall be exalted
Ev’ry valley shall be exalted, and ev’ry mountain and hill made low: the crooked straight and the rough places plain.
4. And the glory of the Lord
And the glory of the Lord shall be revealed, and all flesh shall see it together: for the mouth of the Lord hath spoken it.
5. Thus saith the Lord
Thus saith the Lord, the Lord of hosts: Yet once, a little while and I will shake the heavens and the earth, the sea, and the dry land. And I will shake all nations, and the desire of all nations shall come.” “The Lord, whom ye seek, shall suddenly come to his temple, even the messenger of the covenant, whom ye delight in: behold, he shall come, saith the Lord of hosts.
6. But who may abide the day of his coming?
But who may abide the day of his coming? and who shall stand when he appeareth? for he is like a refiner’s fire.
7. And he shall purify
And he shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness.
8. Behold, a virgin shall conceive
Behold, a virgin shall conceive and bear a son, and shall call his name Emmanuel, God with us.
9. O thou that tellest good tidings to Zion
O thou that tellest good tidings to Zion, get thee up into the high mountain. O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah, Behold your God!” “Arise, shine, for thy light is come, and the glory of the Lord is risen upon thee.”
10. For behold, darkness shall cover the earth
For behold, darkness shall cover the earth, and gross darkness the people: but the Lord shall arise upon thee, and his glory shall be seen upon thee. And the Gentiles shall come to thy light, and kings to the brightness of thy rising.
11. The people that walked in darkness
The people that walked in darkness have seen a great light; and they that dwell in the land of the shadow of death, upon them hath the light shined.
12. For unto us a child is born
For unto us a child is born, unto us a son is given: and the government shall be upon his shoulder; and his name shall be called Wonderful, Counsellor, The mighty God, The everlasting Father, The Prince of Peace.
14. (a) There were shepherds abiding in the field
There were shepherds abiding in the field, keeping watch over their flock by night.
14. (b) And lo, the angel of the Lord came upon them
And lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid.
15. And the angel said unto them
And the angel said unto them, Fear not: for, behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Saviour, which is Christ the Lord.
16. And suddenly there was with the angel
And suddenly there was with the angel a multitude of the heavenly host praising God, and saying.
17. Glory to God
Chorus Glory to God in the highest, and peace on earth, good will toward men.
18. Rejoice greatly, O daughter of Zion
Rejoice greatly, O daughter of Zion; shout, O daughter of Jerusalem: behold, thy King cometh unto thee: he is the righteous Saviour, and he shall speak peace unto the heathen.
19. Then shall the eyes of the blind
Then shall the eyes of the blind be opened, and the ears of the deaf unstopped. Then shall the lame man leap as an hart, and the tongue of the dumb shall sing.
20. He shall feed his flock
He shall feed his flock like a shepherd: and he shall gather the lambs with his arm, and carry them in his bosom, and gently lead those that are with young. Come unto him, all ye that labour, come unto him, that are heavy laden, and he will give you rest. Take his yoke upon you, and learn of him; for he is meek and lowly of heart: and ye shall find rest unto your souls.
21. His yoke is easy, and his burthen is light
His yoke is easy, and his burthen is light.
PART TWO
22. Behold the Lamb of God
Behold the Lamb of God, that taketh away the sin of the world.
23. He was despised
He was despised and rejected of men; a man of sorrows, and acquainted with grief. He gave his back to the smiters, and his cheeks to them that plucked off the hair: he hid not his face from shame and spitting.
24. Surely he hath borne our griefs
Surely he hath borne our griefs, and carried our sorrows: he was wounded for our transgressions, he was bruised for our iniquities: the chastisement of our peace was upon him.
25. And with his stripes we are healed
And with his stripes we are healed.
26. All we like sheep have gone astray
All we like sheep have gone astray; we have turned every one to his own way; and the Lord hath laid on him the iniquity of us all.
27. All they that see him laugh him to scorn
All they that see him laugh him to scorn: they shoot out their lips, and shake their heads, saying.
28. He trusted in God
He trusted in God that he would deliver him: let him deliver him, if he delight in him.
29. Thy rebuke hath broken his heart
Thy rebuke hath broken his heart; he is full of heaviness. He looked for some to have pity on him, but there was no man, neither found he any to comfort him.
30. Behold, and see if there be any sorrow
Behold, and see if there be any sorrow like unto his sorrow.
31. He was cut off out of the land of the living
He was cut off out the land of the living: for the transgressions of thy people was he stricken.
32. But thou didst not leave his soul in hell
But thou didst not leave his soul in hell; nor didst thou suffer thy Holy One to see corruption.
33. Lift up your heads, O ye gates
Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of glory shall come in. Who is this King of glory? The Lord strong and mighty, the Lord mighty in battle.
38. How beautiful are the feet
How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things!
40. Why do the nations so furiously rage together?
Why do the nations so furiously rage together: and why do the people imagine a vain thing? The kings of the earth rise up, and the rulers take counsel together against the Lord, and against his Anointed.
42. He that dwelleth in heaven
He that dwelleth in heaven shall laugh them to scorn: the Lord shall have them in derision.
43. Thou shalt break them
Thou shall break them with a rod of iron; thou shall dash them in pieces like a potter’s vessel.
44. Hallelujah
Hallelujah: for the Lord God omnipotent reigneth. The kingdom of this world is become the kingdom of our Lord, and of his Christ; and he shall reign for ever and ever. King of Kings, and Lord of Lords.Hallelujah!
PART THREE
45. I know that my redeemer liveth
I know that my Redeemer liveth, and that he shall stand at the latter day upon the earth: And though worms destroy this body, yet in my flesh shall I see God. For now is Christ risen from the dead, the first fruits of them that sleep.
46. Since man came death
Since by man came death, by man came also the resurrection of the dead. For as in Adam all die, even so in Christ shall all be made alive.
47. Behold, I tell you a mystery
Behold, I tell you a mystery; we shall not all sleep, but we shall all be changed, In a moment, in the twinkling of an eye, at the last trumpet.
48. The trumpet shall sound
The trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. For this corruptible must put on incorruption, and this mortal must put on immortality.
53. Worthy is the lamb that was slain
Worthy is the Lamb that was slain, and hath redeemed us to God by his blood, to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. Blessing, and honour, glory, and power, be unto him that sitteth upon the throne, and unto the Lamb for ever and ever. Amen.