Handel - Messiah

Handel - Messiah

Handel - Messiah
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Composer: George Frideric Handel
Conductor: Rene Jacobs
Orchestra: Cambridge Choir of Clare College
Orchestra: Freiburger Barockorchester
Performer: Kerstin Avemo
Performer: Patricia Bardon
Performer: Lawrence Zazzo
Performer: Kobie van Rensburg
Performer: Neil Davies
Edition: Music CD
Format: Import
CD Release Date: 2006-10-10
Music Label: Harmonia Mundi Fr.
Soundtracks:
Music CD 1
  1. "Sinfony"
  2. Comfort y, my people, saith your God
  3. Every valley shall be exalted
  4. And the glory of the Lord shall be revealed
  5. Thus saith the Lord of Hosts
  6. But who may abide the day of His coming?
  7. And He sahll purify the sons of Levi
  8. Behold, a virgin shall conceive O, thou that tellest good tidings to Zion, arise
  9. For behold, darkness shall cover the earth
  10. The people that walked in darkness
  11. For unto us a child is born
  12. Sinfonia pastorale There were shepherds abiding in the field And
  13. Glory to God in the highest
  14. Rejoice greatly, O daughter of Zion
  15. Then shall the eyes of the blind be opened He shall feed His flock like a shepherd
  16. His yoke is easy, and His burthen is light
  17. Behold the lamb of God
  18. He was despised and rejected of men
  19. Surely He hath borne our griefs
  20. And with His stripes we are healed
  21. All we like sheep have gone astray
Music CD 2
  1. All they that see Him laugh Him to scorn
  2. He trusted in God that He would deliver Him
  3. Thy rebuke hath broken His heart
  4. Behold and see if there be any sorrow
  5. He was cut off out of the land of the living But Thou didst not leave His soul in hell
  6. Lift up your heads, O ye gates
  7. Unto which of the angels said He at any time
  8. Let all the angels of God worship Him
  9. Thou art gone up on high
  10. The Lord gave the world
  11. How beautiful are the feet of them
  12. Their sound is gone out into all lands
  13. Why do the nations so furiously rage together
  14. Let us break their bonds asunder
  15. He that dwelleth in heaven shall laugh them to scorn Thou shalt break them with a rod of iron
  16. Hallelujah !
  17. I know that my redeemer liveth
  18. Since by man came death
  19. Behold, I tell you a mystery The trumpet shall sound
  20. Then shall be brought O Death, where is thy sting?
  21. But thanks be to God who giveth us the victory
  22. If God be for us, who can be against us?
  23. Worthy was the Lamb that was slain Amen

Music reviews of Handel - Messiah

Music Review: Somewhat mannered, fiercely theatrical, and thoroughly entertaining
Rating: 4 Stars

Released in 2006, Jacobs' Messiah has received mixed reviews from critics. And rightly so - it is not a reading that will appeal to all, especially those that prefer a particularly religious rendition of Handel's most famous oratorio. But let us not forget how the Messiah even came into being. It was the rapid decline in the popularity of opera seria in England that left Handel is financial (and artistic) peril in the late 1730.. Not a particularly religious man, Handel was forced to turn his attentions to setting religious text to music. While always sensitive to the text proper, Handel was primarily interested in making music dramas. And the Messiah was no exception. Indeed, not only was the original quite thrilling, but his expanded and enlivened version for a 1750 performance in London - with more embellishments , a mixed choir, and a part for the famed castrato singer Gaetano Guadagni - was clearly intended with the secular in mind. It is for these very reasons I find Jacobs fiercely theatrical Messiah so appealing, even if his colorful operatic view may not supplant for some the more religiously oriented performances of Pinnock or Suzuki, not to mention more recent performances of the original, all male, version, such as from Higginbottom. Still, it is quite thrilling and always enlivened in the most tasteful, most appropriate manner.

Of course, all the ingredients for a great Messiah are here. The five soloists are phenomenal. Kerstin Avermo has the perfect instrument for the soprano's various contributions, sounding rich and full but still appropriately angelic. In tenor Kobie van Rensberg Jacobs has a wonderful voice actor. His "Comfort Ye" is as warm and pure as any while "All they that see Him laugh him to scorn" is so violent that even the most seasoned Handelian must sit up and take notice. Where some find Neal Davies a bit over-the-top, I only find his contributions rightly exciting, especially in "Thus saith the Lord of Hosts" and in "Why do the nations so furiously rage together," where the text is obviously impassioned. Patricia Bardon's rich, dark tone makes memorable "He was despised and rejected of men," even if she does not possess the most agile instrument. However, best of all is countertenor Lawrence Zazzo, whose tone is simply spectacular throughout his entire range, full, rich, and idiomatic.

The Choir of Clare College is scarcely less fine. Their collective tone is perfect; however, because of their small number - less than thirty - diction is sometimes compromised, which means keeping the booklet close at hand for some of the more densely fugal passages, such as "He trusted in God." But for the most part, the choir is nothing short of outstanding. The justly famous "Glory to God" is sensational and the choir navigates the quick tempo in "All we like sheep have gone astray" perfectly, capturing Handel's brilliant "wandering" melodic lines before the aptly chilling choral conclusion.

However, as with any Jacobs' performance, there are some strange moments that will give any listener pause. The odd dynamic tinkerings in the "Hallelujah" chorus wear on repeated listenings while "Let us break our bonds asunder" is unnecessarily fast. He sometimes elongates semiquaviers, exaggerates dynamics, and takes liberties here and there. But these are small quips when most of Jacobs' choices are so fantastic. The pastoral symphony is simply outstanding; you can feel the shepherd's nervous excitement when the angels suddenly appear. Indeed, the entirety of Part the First is brimming with energy. As such, Handel's sudden transition into Part the Second is particularly felt, Jacobs fully justifying the slow tempo choice in "He was despised and rejected." Of course, it does not hurt that Jacobs is leading the Freiburg Baroque, which follows Jacobs every whim perfectly. "Part II All They that see Him Laugh Him to Scorn" begins nastily while "All we sheep have gone astray" has an indescribably wonderful, and appropriately, empty quality to the aimless wandering melodic line. Jacobs' continuo has and unending reserve of color, due in no small part to the presence of the harp and lute in addition to the more traditional lower voices. Trumpets blaze in "The trumpet shall sound" and the final chorus is one of the best on disc.

At the end of the day, Jacobs' approach to this music may seem overly stylized to some, but it is probably closer to what Handel intended for the 1750 version of the score than any of the more "traditional" interpretations. Indeed, it was Charles Jennens, the librettist, who stated the Messiah was intended as "fine entertainment." Jacobs' is as entertaining as he is enlightening. And, if anything, any conductor that can make this music sound fresh, exciting, and remind us how important Handel's contribution truly is deserves his success. Recommended.
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Description of Handel - Messiah

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"Messiah" was presented often during Handel's lifetime, and the composer made changes to suit the occasions and singers available. In 1750, it was presented with the castrato Guadagni in place of a female alto soloist, and given Guadagni's virtuosity (he was Gluck's first Orfeo), Handel embellished the vocal line--the effect is stunning. René Jacobs leads a superb reading of this version of the score--a very secular reading--with swift tempi, lightness of attack, interesting swelling, and diminishing of choral notes to great effect and an overall excellent cast. Countertenor Lawrence Zazzo takes the Guadagni part and fills it with grand style; Kerstin Avemo is the fine soprano soloist and bass Neal Davies sings up a storm. The men and women of the Choir of Clare College are in top form and the 28 players of the Feiburger Barockorchester play with accuracy, verve, and handsome tone. Yes, there are dozens of recordings of this work available, but this one is worthy to stand beside the best. --Robert Levine

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