For a number of seasons, during the December holidays, this publication has considered performances of Georg Frideric Handel's popular "Messiah," given by the New York Philharmonic, often uptown at the Riverside Church. This year, instead, Q on Stage had the opportunity to experience a different, less familiar Handel oratorio, "Israel in Egypt," drawn from the Biblical Book of Exodus and the Psalms of David, which closed the Collegiate Chorale's season, on May 12, at New York University's Skirball Center for the Performing Arts. Music Director James Bagwell conducted and the American Symphony Orchestra supported the Chorale and guest soloists with distinction.

"Israel in Egypt" (1738, revised 1756) was a good choice for the Chorale, providing many opportunities for the choristers to shine, their responsibilities far outweighing those of the soloists, whose arias and duets are nowhere near as well known as those in "Messiah." The subject matter is the end of the people of Israel's days in slavery in ancient Egypt, after the plagues visited upon the Egyptians; the Israelites' exodus, via the parting Red Sea, into the desert; and Moses and the Israelites' rejoicing in their freedom.

Guided by Bagwell, chorus and orchestra made an early strong impression, in Part One, entitled "Exodus," in "He spake the word," with strings depicting the plaguing flies, and in a vivid, restless and rumbling "He gave them hailstones." These forces made palpable, in "He sent a thick darkness," the ponderous weight of the gloom depicted. The Chorale conveyed the drama of "He smote all the first-born of Egypt" and "But the waters overwhelmed (their enemies)" and, in contrast, the gentleness of the pastoral "But as for His people (He led them forth like sheep)."

In Part Two, "Moses' Song," the Chorale effectively executed the melismas in celebratory fugue "I will sing unto the Lord" and fully captured the awe of "Who is like unto Thee" and "The people shall hear." The choristers capped their endeavor with jubilant repetitions of "The Lord shall reign (forever and ever)" and with the final triumphal fugue "The horse and his rider hath He thrown into the sea."

As for the soloists, this "Israel in Egypt" afforded a welcome opportunity for reacquaintance with the work of openly gay artist Brian Asawa, whom I remembered, from his Mostly Mozart debut, in the title role of the American premiere of "Ascanio in Alba," on August 22, 1992, to possess one of the sweetest of countertenor voices. The first in his vocal category ever to win the Metropolitan Opera National Council Auditions and Plácido Domingo "Operalia" international Opera Competition and be named an Adler Fellow for San Francisco Opera, Asawa proved, in florid opening aria "And the children of Israel sighed," that his remains a strikingly supple, dulcet instrument, commanding, as well, in the duet "Thou in Thy mercy," with tenor Rufus Müller. An expressive and exquisite "Thou shalt bring them in" crowned Asawa's achievement.

Soprano Sari Gruber also took high vocal honors, blending voices mellifluously with a second soprano, Megan Taylor, in duet "The Lord is my strength;" singing a ravishing coloratura "Thou didst blow with the wind," some of it, alas, spoiled by the ringing of an errant cell phone; and making Miriam the prophetess' triumphant a cappella pronouncements in the finale, "Sing ye to the Lord."

Müller jumped from chest to head voice and back to encompass the range of "The enemy said." Baritone Ron Lloyd and bass-baritone Robert Osborne collaborated on a robust martial "The Lord is a man of war."

For next season, the Collegiate Chorale has on tap Johannes Brahms’ “German Requiem” and the “Alto Rhapsody,” with Stephanie Blythe, on October 13; Kurt Weill and Maxwell Anderson’s musical “Knickerbocker Holiday” on a date to be determined; and a Broadway Night, with Deborah Voigt and Ted Sperling, on May 19.