“Too Hot To Handel” reviewed by Frank Meccia

Walking into the Auditorium Theatre in Chicago is always an awe-inspiring experience. With its breathtaking arched ceilings, a seating capacity of 3,875, and internationally renowned acoustics, this historic venue feels like stepping into a masterpiece of art and architecture. Designed by famed architects Dankmar Adler and Louis Sullivan, the theatre has stood proudly as a national landmark since its opening on December 9, 1889. Last night, this grand space became the stage for one of the most unforgettable musical concerts I have ever witnessed: “Too Hot to Handel.”

The packed theatre buzzed with anticipation as “Too Hot to Handel,” a groundbreaking fusion of classical music, jazz, and gospel, brought Handel’s “Messiah” to life in a way that was electrifying and transformative. For two glorious hours, the production reimagined Handel’s 18th-century masterpiece with a modern twist, and I couldn’t help but wonder what Frideric Handel himself would have thought of this innovative performance. The infusion of instruments and styles that were unimaginable in Handel’s time created an experience that felt both timeless and contemporary.

The performance featured a remarkable 80-person choir and a 50-piece orchestra, filling the stage and the theatre with a wall of sound that was both powerful and uplifting. At the helm of this extraordinary musical endeavor was conductor and music director George Stelluto, whose extensive experience as Music Director of the Peoria Symphony, the Las Vegas Music Festival, and associate director of the Ravinia Festival was evident in his ability to seamlessly blend diverse musical genres into a cohesive and exhilarating performance. Stelluto’s vision and precision brought out the best in every performer on stage.

The vocal talents of Rodrick Dixon (tenor), Alfreda Burke (soprano), and Karen Marie Richardson (alto) were nothing short of spectacular. Each singer brought their unique voice and energy to the production, delivering soulful and soaring performances that captivated the audience. Dixon’s tenor was both powerful and nuanced, Burke’s soprano was radiant and moving, and Richardson’s alto brought warmth and depth. Together, they created vocal harmonies that sent shivers down my spine. A surprise highlight was the addition of a bass-baritone soloist whose rich and resonant voice added even more texture to the evening’s music.

The magic of the evening was amplified by the sheer brilliance of Alvin Waddles at the piano. His hands seemed to dance across the keys with a joyful precision that mesmerized the audience. Waddles’ piano playing was so captivating that I found myself inspired to return home and play my own baby grand piano, though I doubt I could ever recreate the magic he delivered. His performance alone was worth the price of admission.
What makes “Too Hot to Handel” so special is its ability to bring together diverse musical traditions and audiences. The jazz-gospel infusion breathes new life into Handel’s “Messiah,” making it accessible and inspiring to people from all walks of life. From the jubilant choruses to the soulful solos, every moment of the performance felt like a celebration of music’s ability to uplift and unite.
I was amazed to learn that the “Too Hot to Handel” organization has been performing around the world since 1993, spreading its unique interpretation of Handel’s masterpiece. Chicago is fortunate to host this incredible production annually, and it’s clear from last night’s packed theatre that the city’s audiences treasure it as much as I do. For those who have yet to experience it, the affectionate nickname for first-time attendees, “Hotties,” is a fitting reminder that once you see this show, you’re hooked for life.

Sadly, this year’s Chicago run of “Too Hot to Handel” is brief, with only two performances. If you’re reading this on Sunday morning, there’s still a chance to catch the final performance at 3 p.m. this afternoon. Tickets start at just $35, and I can’t recommend strongly enough that you make time for this musical miracle. The Auditorium Theatre, located at 50 East Ida B. Wells Drive, is an experience in itself, but paired with this unforgettable concert, it becomes a must-visit destination. Tickets can be purchased at AuditoriumTheatre.org or by calling the box office at 312-341-2300.

“Too Hot to Handel” is more than a concert; it’s a joyous celebration of music’s transformative power. Last night’s performance left me feeling inspired, energized, and grateful to have witnessed such an extraordinary event. If you’ve never experienced it before, don’t miss your chance to become a “Hottie.” I know I’ll be back next year, eagerly awaiting another unforgettable night at the Auditorium Theatre.