Handel: Messiah
Kathleen Battle, Florence Quivar, John Aler, Samuel Ramey; Andrew Davis, Toronto Symphony and Toronto Mendelssohn Choir
EMI
Susan Hamilton, Annie Gill, Clare Wilkinson, Micholas Mulroy, Matthew Brook; John Butt, Dunedin Consort and Players
Linn
Dorothea Roeschmann, Susan Gritton, Bernard Fink, Charles Daniels, Neal Davies; Paul McCreesh, Gabrieli Consort & Players
Archiv (Deutsche Grammophon)
There is no recording of this masterpiece that will completely satisfy anyone probably because so many people know the music so well and want this aria to sound like this and that chorus to sound like that. I have yet to find my “desert island recording.” But these are the ones that suit my tastes best:
In one of Amazon.com’s “Customer Reviews,” R.W. Rasband says it best when he describes Andrew Davis’ recording: “If you want a big, rich (but not bombastic) ‘Messiah’, this is the version for you. It's light but not insubstantial, gorgeous but not overblown, and truly majestic as you imagine the sound should be. Plus Ramey and Battle are in great form. The perfect Christmas gift.” Yes, but Handel used it as an Easter celebration, and, Andrew Davis becomes especially thrilling in Parts II and III. This recording was made in the mid-1980s, so the soloists (some of whom are past their prime today) were still in top form. The chorus (20 professionals, the rest amateur) is stellar, and the engineering warm, radiant, and balanced. Tempos are traditional without being lardy, a good choice for those who want an excellent recording in a style they’re used to.
Handel left behind about 10 versions of Messiah. John Butt’s recording is of the 1742 Dublin version, not the one we usually hear. It’s the same music but at times arranged differently. The engineering is so rich you’d never guess that this is a period performance with early instruments and a small chorus. The soloists, all from the UK, are excellent but sound like they’re Midwestern Americans. Here too, tempos are traditional and to that degree comforting, though overall the performance could use a bit more mood and atmosphere.
When McCreesh’s recording meets your expectations, the results are heavenly. His period-instrument orchestra sounds full-bodied and bright (no sour tuning or emaciated playing here!), the professional chorus is nonpareil, and the soloists superb. Engineering is warm and transparent. But at times tempos feel rushed (are they inappropriate for the texts or simply tempos I’m not used to?).
WebTips: The absolute steal at amazon.com is the Andrew Davis recording—used copies for about $5.00. (I bought one myself!) All three recordings are readily available online.
