Behold, a virgin shall conceive O, thou that tellest good tidings to Zion, arise
For behold, darkness shall cover the earth
The people that walked in darkness
For unto us a child is born
Sinfonia pastorale There were shepherds abiding in the field And
Glory to God in the highest
Rejoice greatly, O daughter of Zion
Then shall the eyes of the blind be opened He shall feed His flock like a shepherd
His yoke is easy, and His burthen is light
Behold the lamb of God
He was despised and rejected of men
Surely He hath borne our griefs
And with His stripes we are healed
All we like sheep have gone astray
Track Listings (23) - Disc #2
All they that see Him laugh Him to scorn
He trusted in God that He would deliver Him
Thy rebuke hath broken His heart
Behold and see if there be any sorrow
He was cut off out of the land of the living But Thou didst not leave His soul in hell
Lift up your heads, O ye gates
Unto which of the angels said He at any time
Let all the angels of God worship Him
Thou art gone up on high
The Lord gave the world
How beautiful are the feet of them
Their sound is gone out into all lands
Why do the nations so furiously rage together
Let us break their bonds asunder
He that dwelleth in heaven shall laugh them to scorn Thou shalt break them with a rod of iron
Hallelujah !
I know that my redeemer liveth
Since by man came death
Behold, I tell you a mystery The trumpet shall sound
Then shall be brought O Death, where is thy sting?
But thanks be to God who giveth us the victory
If God be for us, who can be against us?
Worthy was the Lamb that was slain Amen
"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... more » 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« less
"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
CD Reviews
Wonderful
A Music Lover | Queensland, Australia | 11/08/2006
(5 out of 5 stars)
"The harpsichord is used in this recording albeit discretely (with reference to the previous review - a clavecin is in fact a harpsichord) and Jacobs makes very imaginative use of the organ. The use by Jacobs of the lute as a continuo instrument is also incredibly effective. The soloists are uniformly excellent and the choir is spectacular. Whilst not as devotional as the recent Harnoncourt recording (my all time favourite), the combination of English choral excellence, German orchestral brilliance and Flemish flair in the conducting make for a winning recipe. Don't miss it."
More than 5 stars
The Cello Chick | New York, NY United States | 12/03/2006
(5 out of 5 stars)
"There is an alchemy in this recording that if extremely rare to find outside of a concert hall. Even though the tempi are usual and it is more "baroquey" than my tastes run, this is one of the most magical recording I have come across. I wish I could give it more than five stars."
Far From My First Choice
Virginia Opera Fan | Falls Church, VA USA | 10/28/2008
(3 out of 5 stars)
"I own this recording in the hybrid SACD version and have commented on it under that version. Since most prospective purchasers will be looking for the "redbook" CD version, I wanted to add my two cents worth here.
Having lived with and listened to this recording for sometime, I find it more of a disappointment than I did initially. Orchestral and choral forces are very good indeed, and the soloists are an OK lot. Soloists in particular are outclassed in other period performances (Cleobury being one example) but that is a personal take.
Two things about this performance raise my hackles: 1) Jacobs mannered conducting that employs lightened staccato effects in some choral climaxes. Listen to "For unto us" for example. The effect is irritatingly prissy. 2)The use of harp and lute in the continuo. While adding color to the proceedings, I prefer the less distracting harpsichord and organ support of other historically informed performances. In the present case the result is fussy and mannered.
There is also an egregious example of why ornamentation and flourishes are better in moderation in the context of repeated listening. Just before the invigorating rush of the final choral trilogy that ends Part III, Jacobs includes an organ interlude that "noodles" on the minor key of the final aria that immediately precedes it. It might work in live performance where the inspiration of the moment seizes both the performer and the audience. Laid down for posterity it prompts the question "why"? In the final "Amen" the jangling of the lute in the instrumental interlude sounds more like Vivaldi's Venice than Georgian England.
I suspect the SACD version shows off the recording quality to it's best effect. Even so, it lacks the transparency of Harmonia Mundi's best efforts.
Seasoned collectors may be interested in this version as different take on this warhorse. Buyers with less experience in the period performance area would do better with the work of Cleobury (Argo), Gardiner (Philips), Hogwood (Decca/L'Oiseau Lyre), and Pinnock (DG Archiv)."
Vivacious, if occasionally mannered Messiah
David L. Reynolds | LA, CA USA | 11/24/2008
(4 out of 5 stars)
"Rene Jacobs was bound to get around to Messiah sooner or later and here it is. The soloists are all excellent, ornamenting the music tastefully if in a rather mannered fashion and without being very memorable. The chorus and orchestra are also excellent, but their work is the most affected by Jacobs' idiosyncracies. He has them interpolate trills at many cadential moments when one simply wants to get on with it and the fussy staccato articulation of the text in some of the choruses will be annoying to some. Surely this is due to Jacobs wanting to put his own personal stamp on the work (God knows it has been recorded almost to death), but in its own way it is entertaining and the overall music-making is joyful and life-affirming. I wouldn't recommend this as a first version, but if one already has a number of versions of Messiah and wants to hear a different take on a familiar work splendidly performed, this should fit the bill nicely."
A very Different Messiah
Graham C. Scott | CT. USA | 12/24/2008
(5 out of 5 stars)
"If you want a 2nd version of the Messiah which is not a typical war horse with a full symphony backing, this
is the version for you. It has a wonderful delicacy in soloists, chorus and orchestra. The audio is excellent
so in the chorus's the words are still distinct and the timbre of the instruments is also pronounced. An
Track Listings (21) - Disc #1