Your Amazon Music account is currently associated with a different marketplace. The audience swelled to a … Bass Matthew Brook's "But who may abide the Day of His Coming," is delivered with astonishing breath control and power. Authentic Dublin version, needing only a star contralto. How beautiful are the feet, Recit accomp. Handel took his composition to Dublin for an opening during Easter week, April 8, 1742. The soloists are all of the highest quality, with youthful-sounding voices more robust and less mannered than what one generally associates with the English oratorio tradition. Your recently viewed items and featured recommendations, Select the department you want to search in, Reviewed in the United States on July 19, 2018. The "Messiah" I've Been Seeking All My Life, Reviewed in the United Kingdom on April 27, 2019. Soprano Susan Hamilton sings "I know that my Redeemer liveth," with stunning simplicity and purity. Prime members enjoy FREE Delivery and exclusive access to music, movies, TV shows, original audio series, and Kindle books. After viewing product detail pages, look here to find an easy way to navigate back to pages you are interested in. For the London premiere the following year, Handel rented the Covent Garden Theatre from his friend John Rich for a … The size of the chorus allows for an unusually light touch in the movements requiring choral coloratura, and the Dunedin Consort responds nimbly. Top subscription boxes – right to your door, © 1996-2020,, Inc. or its affiliates. Another excellent recording from the always reliable Dunedin Consort and Players. This just arrived after almost a month from the UK. The SACD recording is clear and present, and details emerge with the vivid characteristic of chamber music. Contralto Clare Wilkinson sings "He shall feed His flock," with breathtaking poignancy, as intimately as a lullaby. Handel much preferred the later performances in London. Reviewed in the United States on December 15, 2015, Those of you who complained about the lackluster SATB parts on this 1742 Dublin "Messiah" need to know two things --, Reviewed in the United States on February 22, 2012. I can only endorse the praise heaped by Kate & most of the previous reviewers on this wonderful recording. Messiah's debut performance was met with eager ears in Dublin, Ireland's Great Music Hall on Fishamble Street on April 13, 1742. King George II was in attendance that evening. I ordered it as I was singing Messiah two weeks ago for the first time, and was looking for another "historically informed" performance as a reference. It all comes to seem like a series of randomly strung together pieces, rather than a coherent whole. Ditto the material at the end. I've heard some wonderful Bach pieces with only one voice per part. The result is remarkably and refreshingly intimate. Thou shalt break them with a rod of iron. Excellent performance of the 'authentic' version of the "Messiah", without the eccentricities of some of the 'early music' specialists. It's so refreshing to hear Messiah sung by a handful of performers instead of the usual massed choirs. The singing and musicianship is uniformly excellent. I agree with most of the reviews, that this is a very special Messiah, and I've heard many. A large-scale semidramatic work for chorus, soloists, and orchestra, it is the source of the familiar “ Hallelujah Chorus.” Reviewed in the United Kingdom on January 10, 2017. However, at its premiere, Handel's masterpiece was presented as A Sacred Oratorio. This recording also seeks to duplicate the original performing forces as authentically as possible by having the soloists perform the choruses, as well, using a total of only 12 singers. Handel had to transpose all the soprano parts down for his star singer/actress Susannah Cibber. In spite of the modesty of scale, conductor John Butt leads a reading that never sounds small or limited; the performers convey the full extent of the work's wide emotional range. This superb 139 minute recording, which features the Messiah as premiered by Handel in Dublin in 1742, was named the winner of Baroque Vocal Album of the Year in the 2007 Gramophone Awards. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. Heard it being played on Radio 3 and although I already love thee ‘big’ choir versions....this is exquisite and the clarity of voices well presnted on this recording, A refreshing version of a familiar masterpiece, Reviewed in the United Kingdom on October 21, 2016. Soli & Chorus.

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