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| Handel - Messiah / Auger, von Otter, Chance, Crook, Tomlinson, English Concert, Pinnock |
 Enlarge | Artists: George Frideric Handel, Arleen Auger, Anne Sofie Von Otter, Trevor Pinnock, The English Concert & Choir, Michael Chance, Howard Crook, John Tomlinson
Label: Archiv Produktion
Customer Rating:  35 Reviews
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| Tracks
Disc 1
- Part 1. 1. Sinfony (Grave - Allegro moderato)
- Part 1. 2. Accompagnato. Comfort ye my people
- Part 1. 3. Air. Ev'ry valley shall be exalted
- Part 1. 4. Chorus. And the glory of the Lord shall be revealed
- Part 1. 5. Accompagnato. Thus saith the Lord of Hosts
- Part 1. 6. Air. But who may abide the day of his coming
- Part 1. 7. Chorus. And he shall purify
- Part 1. 8. Recitative. Behold, a virgin shall conceive
- Part 1. 9. Air. O thou that tellest good tidings
- Part 1. 10. Accompagnato. For behold, darkness shall cover
- Part 1. 11. Air. The people that walked in darkness
- Part 1. 12. Chorus. For unto us a Child is born
- Part 1. 13. Pifa (Pastoral Symphony)
- Part 1. 14. Recitative. There were shepherds abiding in the field / Accompagnato. And lo, the angel
- Part 1. 17. Chorus. Glory to God in the highest
- Part 1. 18. Air. Rejoice greatly, O daughter of Zion
- Part 1. 19. Recitative. Then shall the eyes of the blind
- Part 1. 20. Air. He shall feed his flock
- Part 1. 21. Chorus. His yoke is easy, his burthen is light
- Part 2. 22. Chorus. Behold the Lamb of God
- Part 2. 23. Air. He was despised
Disc 2
- Part 2. 24. Chorus. Surely he hath borne our griefs
- Part 2. 25. Chorus. And with his stripes we are healed
- Part 2. 26. Chorus. All we like sheep have gone astray
- Part 2. 27. Accompagnato. All they that see him
- Part 2. 28. Chorus. He trusted in God
- Part 2. 29. Accompagnato. Thy rebuke hath broken his heart
- Part 2. 30. Arioso. Behold, and see if there be any sorrow
- Part 2. 31. Accompagnato. He was cut off out of the land
- Part 2. 32. Air. But thou didst not leave his soul
- Part 2. 33. Chorus. Lift up your heads, O ye gates
- Part 2. 34. Recitative. Unto which of the angels
- Part 2. 35. Chorus. Let all the angels of God worship him
- Part 2. 36. Air. Thou art gone up on high
- Part 2. 37. Chorus. The Lord gave the word
- Part 2. 38. Air. How beautiful are the feet
- Part 2. 39. Chorus. Their sound is gone out
- Part 2. 40. Air. Why do the nations so furiously rage
- Part 2. 42. Recitative. He that dwelleth in heaven
- Part 2. 43. Air. Thou shalt break them
- Part 2. 44. Chorus. Hallelujah
- Part 3. 45. Air. I know that my Redeemer liveth
- Part 3. 46. Chorus. Since by man came death
- Part 3. 47. Recitative. Behold, I tell you a mystery
- Part 3. 48. Air. The trumpet shall sound
- Part 3. 49. Recitative. Then shall be brought to pass
- Part 3. 50. Duet. O death, where is thy sting?
- Part 3. 52. Air. If God be for us
- Part 3. 53. Chorus. Worthy is the Lamb that was slain - Amen
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| Editorial Reviews
Amazon.com essential recording
This is a terrific performance of Messiah. Not only are the soloists all superb, but Trevor Pinnock completely contradicts the image of many period instrument performances as small-scale, scrappy affairs. Indeed, he invests the choruses with as much genuine Handelian pomp as Beecham at his most extravagant. The trumpets really blaze, and the timpani thunder, and everyone simply has a great time. A joyous performance, just right for the holiday season. --David Hurwitz
Amazon.com
Trevor Pinnock meets with mixed success in this account of the Messiah with the English Concert & Choir and soloists Arleen Auger, Anne Sofie von Otter, Michael Chance, Howard Crook, and John Tomlinson, recorded and released in 1988. Its strengths are the strengths of the early-music movement in general. The size and distribution of the instrumental and vocal forces are optimal, which means that textures are clear and balances apt. Rhythms are nicely pointed, though often, in Pinnock's case, not quite well enough sprung. Tempos are well chosen; for example, "All we like sheep"--which turns out to be one of the set's best numbers--is a real bourre, and Pinnock animates it in just the right way. But the performance often seems workmanlike and unemotional, weighed down in too many instances by the humdrum work of the chorus. The alto section in particular, which is half male and half female, sings timidly and is constantly swallowing its entrances. Bass soloist John Tomlinson is a further drag on the effort. He has the right idea--that there's an Italian opera hiding behind all this biblical imagery--but his cottony sound is out of place, a misguided attempt to mimic Nicolai Ghiaurov. His usable range is less than a tenth (he croaks the low G's and F-sharps), and his diction is horrible. "Thus spake the Lord" is strangled, and when, in "The trumpet shall sound" Tomlinson gets to the words "we shall be changed," one can't help wishing that he had been changed too, right before the sessions started. --Ted Libbey
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| Customer Reviews Read 30 more reviews...
Simply the best Messias I know September 18, 2008
Maria S. G. Santos (BRA)
0 out of 1 found this review helpful
If you like Handel's Messias and want a definitive record, this is your choice!!
I recommend!
a voice teacher and early music fan August 26, 2008
George Peabody (Carlisle,Pa. USA)
2 out of 2 found this review helpful
AUGER AND CHANCE ENCHANT AND ENTRANCE.
The English passion for oratorio is largely due to Handel. Every year from 1738 to 1751, he produced at least one. The 'Messiah' is THE modern oratorio, not only because of the custom of rising and stretching in the seventh inning, when the 'Hallelujah Chorus' is sung, but because of its magnificent choruses, soaring arias and orchestral accompaniment which are truly thrilling.
And that is precisely why I would not give this rendition five stars. It is incredibly 'laid back' and too 'cold' for my taste. However. let's examine the soloist's contributions one by one, for some of this overall impression has a great deal to do with them.
John Tomlinson (bass)- excellent technique with good emotional investment; tone quality unusual (I didn't like it) and rather rough-sounding.
Howard Crook (tenor) very oramented delivery overall; somewhat overdone at times, but otherwise, well done with good vocal resonance and upbeat style.
Anne Sofie von Otter (contralto)-after hearing Chance, she is a big let-down. She had that highly emotional and lengthy solo 'He was despised', and she could have been singing' 'take me out to the ball game' for all the emotion she sent out to the listener. While she is certainly more than adequate in her other arias on this recording, nevertheless, she lacks the power that Chance maintains throughout.
Michael Chance (countertenor)-Excellent, as per usual, lovely sound throughout, mega emotional investment. Always the perfectionist!!!!
Arlene Auger (soprano) Superb in every way; her voice is the ultimate in every way: exciting, sonorous, emotional, smooth and clear as crystal. I have never heard 'Rejoice Greatly' sung any better!!!
Chorus: nice sound, but rather bland; tempos somewhat slower overall. Excellent diction throughout, just not the most exciting of my many 'Messiah's'.
For real excitement try the 'live' performance from Maulbronn Monastery with Jurgen Budday!
Arleen Auger Helps Keep This Messiah at the Top of My List March 1, 2008
Lois C. Fleming (Chicago Suburbs, USA)
0 out of 1 found this review helpful
I won't repeat all the positive observations made by others about this enduringly fine recording in affirming it's one of two of which I never tire. As others have noted, its uniform excellence is one of its greatest attractions. Above all the purity and clarity of Arleen Auger's voice in the soprano solos, so well known and therefore rather unforgiving in the demands made upon them, makes me reach for it among the dozen or so I currently own.
I've been to hear live Messiah performances and listened to recordings for 43 years now, and sometimes it seems the changing fashions in performance practice, especially of Bach and Handel, define my life development too. I think Handel would have liked this performance, and been very pleased with Pinnock's choices and his soloists. Pinnock avoids pushing too hard in making his points for his performance choices, and perhaps that's another central reason why this recording never grows tiresome.
The other recording I enjoy as much is Mackerras's 1966 recording with Elizabeth Harwood and Janet Baker. I had never heard the "Rejoice!" done in 12/8 before,and have had a preference for it ever since. Harwood adds a touch of pleasing dramatic engagement Auger sometimes lacks, but for which she makes up in the purity of tone. Handel: Messiah / Harwood, J. Baker, Esswood, Tear, Herincx; Mackerras
For me the only comparable "He was Despised" recordings besides Dame Janet's here, are Lorraine Hunt Lieberson Lorraine Hunt - Handel Arias and the ever-dear LP copies of Kathleen Ferrier.
The best of the best! February 17, 2008
Thomas N. Tully
0 out of 1 found this review helpful
Of all the many versions of Handel's MESSIAH available today, this is perhaps the very best. The overnight delivery was wonderful. Thanks very much.
Now my benchmark Messiah recording December 16, 2007
Lisa Richards Hone (Arlington, VA USA)
0 out of 1 found this review helpful
The two previous reviewers have done an excellent job of summarizing the strengths and weaknesses of this recording. Von Otter shines in this recording, and Tomlinson's bass is approachably period-correct -- a heavy booming bass soloist is not called for here.
On a personal note, I grew up with the Gardiner recording and purchased this Trevor Pinnock version several years ago. Last Christmas I put the Gardiner on the turntable for a listen, and found it staid...overly stiff in comparison with the Pinnock recording. While this may not be surprising to the cognoscenti, it may be helpful information for those who are seeking a dancing, light, and truly emotive performance.
| Product Specifications
Media: Audio CD
Discs: 2
Shipping Weight (lbs): 0.4
Dimensions (in): 5.6 x 4.9 x 1
MPN: 423630
UPC: 028942363021
EAN: 0028942363021
Release Date: October 25, 1990
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Keywords Suggestion : Handel - Messiah Auger |
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