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Five facts about the Royal Albert Hall organīarbara Schlick, Sandrine Piau, Andreas Scholl, Mark Padmore, Nathan Berg įor quality of soloists, this disc ranks top dog: Andreas Scholl, Sandrine Piau, Nathan Berg and a young Mark Padmore are exquisite.The vocal ensemble deftly teases out Messiah’s various moods, and they possess an impressive freshness throughout the recording, although it has to be said that the soloists sometimes disappoint. Highly original are both the continuo realisation (with John Butt at the harpsichord) and the ‘Pifa’ or ‘Pastoral Symphony’ section’s dreamy atmosphere. The skeleton forces of just 13 vocalists and a neat 17-member band facilitate a nimbleness and responsiveness unique among Messiah recordings, and indeed, the choruses are surprisingly robust. The Dunedin Consort and Players strike out daringly from the beaten path in this recording of Handel’s very first Messiah (from Dublin in 1742). Susan Hamilton, Annie Gill, Clare Wilkinson, Nicholas Mulroy, Matthew Brook, Edward Caswell The Dunedin Consort & Players (2006) Six of the best… King’s Singers recordings.The best recordings of Schubert’s Winterreise.
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The band’s sharp attacks transform familiar numbers, such as ‘Why do the Nations’ and ‘But who may abide’, into show-stoppers.Ĭountertenor Lawrence Zazzo inhabits Guadagni’s parts with utter conviction, while René Jacobs extracts from the Choir of Clare College an uncharacteristic flamboyance, particularly in the ‘Hallelujah’ chorus, where stark contrasts abound. This is the ‘Guadagni’ version of Messiah, adapted by Handel in 1750 to showcase that celebrated alto castrato, but here everyone is a star.
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Virtuosity makes this performance sizzle. Kerstin Avemo, Patricia Bardon, Lawrence Zazzo, Kobie van Rensburg, Neal Davies Choir of Clare College, Cambridge, Freiburger Barockorchester (2006) Three more great recordings of Handel’s Messiah This Messiah not only captures the heart, but ravishes the ear. Similarly, while larger than the choirs Handel directed, Polyphony retains the transparency needed to portray Handel’s elaborate counterpoint, which culminates in the final ‘Amen’. Violinist Jacqueline Shave’s obbligato lines are particularly delightful, delivered with such sweet vulnerability to make the same passages on rival discs seem clunky. Modern instruments are made to sound like period instruments, with the players adopting a Baroque clarity, nimbleness and ingenuity of extemporisation. The choir’s responsiveness, the Britten Sinfonia’s airy ensemble, the fluidity of Layton’s tempos and the musical imagination of the soloists deftly nuance a score forged from Messiah’s 1750 version and some later variants.
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Momentum builds throughout the work, thanks to the excellent musicianship of choir, conductor, instrumentalists and soloists alike. The music Handel composed for Messiah is meant to convince audiences of a vision beyond religious factionalism, and Layton rightly shapes his reading around the oratorio’s verses.Įvery phrase, whether played or sung, is suffused with word-meaning. Stephen Layton’s musicians bring an unparalleled freshness to this familiar work, combining power with a delicacy faithful to Handel’s Baroque sensibility. What are the lyrics to ‘For Unto Us a Child is Born’?Īllan Clayton, Iestyn Davies, Polyphony Britten Sinfonia (2009).The best recordings of Allegri’s Miserere.Hallelujah! The Story of Handel’s Messiah.We named Handel’s Messiah one of the greatest pieces of Christmas classical music ever Artists tackling Messiah today therefore face the challenge both of getting to grips with Handel’s different versions – and of meeting expectations set up by misinformed past practice.