Customer Reviews

Handel - Messiah / Ameling · A. Reynolds · Langridge · Howell · Marriner

5 star:		(20)
4 star:		(7)
3 star:		(0)
2 star:		(0)
1 star:		(2)

 

 

A first-rate recording at a cut-rate price. Excellent work from the chorus- well-blended and clean, but not antiseptic and dull. Likewise excellent work from the soloists: especially Ms. Ameling. She takes the more relaxed 6/8 version of Rejoice Greatly-- so it's not flashy, but she has no problem with the coloratura and spins out some amazingly long-breathed phrases. THe real draw for me is "Thy Rebuke Hath Broken His Heart" and "Behold and See". While remaining within the boundaries of appropriate performance style and good taste, Ms. Ameling delivers these two forgotten parts of Messiah with an emotional appeal that is absolutely devastating: wrenching, moving, full of anguish and disbelief, but with economy, sensitivity, restraint and always with beautiful tone. It's absolutely unforgettable and it blasts the dust right off of Messiah: a work that is so often given a careless, pedestrian performance. Completely stunning- it will make you care about Messiah again.

The singers in this recording deliver beautiful performances, both the soloists and the chorus - good phrasing, diction, and ensemble singing in lovely voices. However, I didn't realize before buying this CD that, as the liner notes say, "Neville Mariner's recording is based on the first London performance of 1743, and several numbers are markedly different from the more familiar later versions." Some pieces are sung by different voice parts, and others include bars of music that Handel cut or changed later. For example, the most disappointing part for me was "But who may abide," (sung by bass instead of alto, though that's not unusual) which completely omits the excicting prestissimo "refiner's fire" section that most of us are used to (and which I really enjoy)! This would certainly be an excellent historical recording for someone who collects or studies Handel's music - beautifully performed (though some parts seem unusually fast), and interesting for studying the development of Handel's composition - and it is still his sacred masterpiece. Plus it's an excellent bargain for a top-quality 2-disc recording. However, if you're looking for the most FAMILIAR Messiah, perhaps this isn't the one for you. I opted for the excellent Chaconne (Chandos) recording by Richard Hickox instead, also with Philip Langridge, and my favorite Bryn Terfel.

First of all, what the other online reviewers here fail to realize is that this is Handel's 1743 Covent Garden premiere Messiah score , NOT the "final" version. So, those looking for the familiar choruses, solos, etc. will be very disappointed and should probably seek another recording.

Though much of the score is the same, much of the score is very different as this was "a work in progress." One can tell the differences beginning with the tenor aria "Ev'ry Valley," until the final chorus "Worthy is the Lamb." One may even wonder why Handel choose to alleviate some of the score (most notably "How Beautiful Are the Feet" which here is a duet between alto and soprano with a rousing chorus. The aria in it's present version is quite dull in comparison). However, Handel scored based on available forces, and it is documented that Handel continued to "tweak" the score until he died.

Tempos are brisk, as well they should be. Messiah was nearly destroyed by the late-romantic conductors that thought it would sound better with a full symphonic orchestra and choruses "of a thousand." What remains is a wall of noise with all the nuances destroyed. We are, after all, talking about Baroque music. This ASMF 1976 recording began the revival of period tempos, ensembles, and the return of vocal ornamentation.

The orchestra is in its usual flawless form in this recording as is Lazlo Heltay's fine singers. The solosits do a fine job, though Ameling, at times, has some strange vowel sounds (she obviously was not yet skilled at singing in English). Howell is the strongest of the soloists.

For overall beauty of sound and dramatic intensity, this is the ultimate recording!

This is not your usual Messaih. It is the first London version of 1743. Therefore several numbers are markedly different from the more familiar versions usually performed today and almost incised upon our memories and minds. There are cuts, additions and scorings for different voices. The Bass air no. 6 lacks the alto section. The usual duet no. 20 for Alto and Soprano, ( He shall feed his flock) is here only as an Alto aria, etc. There are many other variations and cuts and additions with respect to the usual presently performed versions. For my tastes the Christie recording (on Harmonia Mundi) is the definitive version (for the soloists)(on period instruments), along with the Parrott/ Taverner choir version on Virgin (for the overall well-balanced and extremely refined interpretation), as well as the Hogwood version (on l'Oiseau Lyre). I would recommended this recording if you are interested in this early version.

Don't even look at another recording. This is the one to get. Everything about it is good, and most of it is superb. Where most Messiahs are performed at a funereal pace and have the kinetic energy of cold molasses, this one will blow your hair back. Neville Marriner and the ASMF are superb as always. But the highlights of this recording are Langridge and Howell, the tenor and baritone, respectively. Langridge delivers a beautiful, lyric performance that compares favorably to the best of better known tenors. But Howell is beyond description. I first heard and fell in love with this recording (then in LP) as a teenager, and it was Howell's singing that captivated me. Still does more than two decades later. I add this caution, however. Once you experience this musical revelation, you'll have a hard time hearing any other Messiah without wincing.

Neville Marriner's first recording of MESSIAH, recorded in 1976, is without a doubt his best recording of the work. Marriner recorded Handel's most famous oratorio with his Academy of St. Martin in the Fields for Decca, and it is not to be confused with a later German language version from Munich for EMI, or a 1992 live concert (Philips) with soloists who were not on the level of the 1976 Decca recording.

Marriner takes generally fast, refreshing tempos in the choruses and keeps a light texture, but he knows where to slow down, and the Academy players are so good: in sync with Marriner's every nuance and tempo fluctuation (these are few, but sometimes the music calls for slight changes in tempo or expression.) "For unto us a Child is born" is the most satisfying I've heard, and it really moves, yet never seems rushed. All the soloists are excellent, and really have an understanding of Handel's style of writing for the voice, the meaning of the text, drawn from the Old and New Testaments of the Bible. They are not operatic voices, but more attuned to the intimate side of late Baroque oratorio. Keep in mind, though, intimate does not mean "namby pamby" or "wimpy." The choruses are very hearty indeed, and the heft of the orchestra always appropriate in the big moments, yet never sacrificing grace for a big sound.

This is also a complete MESSIAH, and a bargain on 2 discs. Ormandy and Bernstein (both Sony) are not complete, but really extended excerpts. If you must have period instruments, try Hogwood/Academy of Ancient Music (L'Oiseau Lyre, 1980, with a boys/men's choir) or Gardiner/English Baroque soloists (Philips, 1982). But Marriner in my mind is the best, as he blends both worlds: chamber choir and orchestra, but modern instruments. Recorded sound is terrific: highest recommendation!

This is our third 'Messiah', and undoubtedly the most joyous version we've enjoyed. The quick and uplifting pace leaves me moved each time I hear it, which is frequently. Every human emotion is gorgeously expressed in this piece, and is lovingly and perfectly interpreted by Neville Marriner.

We have purchased this version for our children so they, too, can feel the power of this incredible music.

If you like your 'Messiah' slow and stodgy, look elsewhere. If joy slips out of you as you air-conduct the glorious chords of this masterpiece, you may feel like you are flying as this recording swirls and rushes to its fantastic climax.

The vocals, the orchestration, the timing: all blend together to create, for us, the definitive 'Messiah'.

While the 1976 recording of Messiah may leave the average historical performance devotee a bit cold, the fine performances by the soloists, Ameling, McNair & alia, and the luxurious accompaniment are nothing but pure joy. Coupled with the exciting 1743 version ( note the andante "For he is like a refiner's fire") with voice settings unlike the the standard versions, this becomes a must have for Handel lovers anywhere. - Joseph Bille, New York City

The sound quality of this recording is simply outstanding, and the performance is clear and crisp. An excellent buy, especially at its low price.

This recording was featured in a book club we belonged to many years ago. Our children were very young at the time and apparently we played this album so much that when our son was in about grade 3, he told a teacher that The Messiah was his favourite piece of music.

I grew up with The Messiah (my parents both being trained musicians) and had had my "favourite" parts before hearing this recording, but I quickly acquired several new preferences. One is Gwynne Howell's rendition of "The Trumpet Shall Sound."

This is a "lighter" recording than many, with fewer instruments and a slightly livelier pace. It took some getting used to from what I'd been familiar with as a child, but now I prefer it over the heavier and more traditional versions.