Vielen Dank für diese außergewöhnliche Interpretation des Messias. Diese Spritzigkeit und Leichtigkeit mit der der Chor, die Solisten und das Orchester durch den herausragenden und mitreißenden Dirigenten geführt wird, ist einzigartig. Dies ist der beste Messias, den ich je gehört und gesehen habe. Ich bin sehr beeindruckt. Danke, danke, danke.
PART I 1 01:30 Sinfonia 2 04:38 Comfort ye my people (Accompagnato, Tenor) 3 07:37 Ev’ry valley shall be exalted (Arie, Tenor) 4 10:56 And the glory, the glory of the Lord (Chor) 5 13:38 Thus saith the Lord (Accompagnato, Bass) 6 15:03 But who may abide (Arie, Alt) 7 19:13 And He shall purify (Chor) 8 21:32 O thou that tellest (Arie, Alt und Chor) 9 27:14 For behold, darkness shall cover the earth (Accompagnato, Bass) 10 29:27 The people that walked in darkness (Arie, Bass) 11 33:10 For unto us a Child is born (Chor) 12 37:02 Pifa (Pastoralsinfonie) 13 39:42 And lo, the angel of the Lord (Accompagnato, Sopran) 14 40:44 And suddenly there was with the angel (Accompagnato, Sopran) 15 41:02 Glory to God in the highest (Chor) 16 42:56 Rejoice greatly, O daughter of Zion (Arie, Sopran) 17 47:00 He shall feed His flock (Duett, Alt, Sopran) 18 51:51 His yoke is easy (Chor)
Ich hab schon viele Messias Interpretationen gehört, aber diese sticht heraus. Leichtigkeit und Glanz in jeder Note. Wunderbare Solisten, flinkes, nie schwer wirkendes Orchester, ein dynamischer Chor und ein Conductor, der alles herrlich kombiniert. Tolle Aufnahme!!!
Eine der schönsten Messias-Aufführungen, die ich jemals gehört und gesehen habe. Auch bei den teilweise straffen Tempi (Expl.: "For unto us a child is born") von allen Beteiligten mit unglaublicher Sicherheit und viel jugendlicher Frische und offensichtlicher Freude musiziert. Eine würdige Aufführung !
Quel plaisir de retrouver Collegium 1704, pour cette superbe oeuvre, bravo aux Solistes bravo les Coeurs, bravo au Maestro Luks. Cet orchestre qui plus est a fourni de ses excellents musiciens et solistes aux autres Phalanges qui tiennent le devant de la scéne. Merci à Eux
This is an ubelievable extraordinary Messiah just a few seconds in of the orchestra and tenor solo I can tell - wow! Something about it is so fresh and extraordinary, i just read a below comment which said exactly the same thing - the word is fresh - it is so alive and full of life, like I remember performances when I was a teen-ager, so REAL, a minor (or major) miracle in this weird, dystopic 21st century climate - WOW!!!! Well done all of you by God's grace and for HIS ULTIMATE GLORY!!!
Scene #1 Movement 1: 1:34-4:30 Movement 2: 4:41-7:36 Movement 3: 7:38- 10:43 Movement 4: 10:58-13:30 Scene #2 Movement 5: 13:39-15:01 Movement 6: 15:04-19:08 Movement 7: 19:15-21:30 Scene #3 Movement 8: 21:34-26:58 Movement 9: 27:15-29:25 Movement 10: 29:29-30:32 Movement 11: 30:33-32:59 Movement 12: 33:13-36:49 Scene #4 Movement 13: 37:04-39:43 Movement 14: 39:45-42:50 Scene #5 Movement 15: 42:55-46:54 Movement 16: 47:03-47:26 Movement 17: 47:29- 51:43 Movement 18: 51:54- 53:58
More than 50 years ago when I first started listening to classical music as a teenager, there were no counter tenors performing on stage/radio, at least in London. That is how I got used to hearing music - SATB delineations. So now when the custom is for counter tenors to sing what to me were alto/contralto parts I find it quite hard to accept. That is my drawback and certainly no reflection on the musicians . So I'm trying to adjust to the new realities and trends - just hope it doesn't take too long. Other than that I was absolutely dazzled by the performance. Orchestra , choir, soloists and conductor were all superb and at times it felt as if I were flying out of my body into some other sphere but music has that ability to make one transcend ordinary reality. Many many thanks for sharing this wonderful performance. Best wishes from Sakuntala Basu, India
What's more, the alto arias in Messiah were mostly written for female singers. Unfortunately, it still seems to be the case that there are relatively few female contralto soloists who are really good at Baroque period style. (That situation is getting better than it used to be, but the contraltos who are really good at it get a lot of work and can't be everywhere.) For that matter, there are few real contraltos at all, and Handel's alto solos lie too low for most mezzos to sound really comfortable.
@@mwnyc3976 you've said exactly what I've been feeling. Although a mezzo-soprano, Dame Janet Baker would have been perfect. She used to sing quite a lot of Handel arias and other Baroque works and I really became interested in vocal Baroque music, listening to her on the radio and records
What a wonderful rendition of this masterpiece. Soloists with great light baroque voices, wonderful deep bass, great expressie counter-tenor, soprano spot on, choir has a wonderful balanced sound (maybe bit more bass?) and light and precies orchestra. I can only imagine Händel would be thrilled with this performance! Congratulations and thanks!
Música maravilhosa! "E a Glória de Deus o Senhor será revelada" Esta música nos transporta até o Céu. Obra magnífica de Handel que atravessa os séculos!
Dans ce document magnifique sur tous les plans, solistes chanteurs, chanteuses et Kresimir la basse ! - une découverte de plus du Maestro G.F. Haendel et les artistes qui font tout cet orchestre, que dire de plus merci à tous. Mes Félicitations à tous pour ce moment extraordinaire à l'écoute de cette grande réussite. Seul bémol un : éclairage faible un peu tristounet.
It's quite common these days for period bands to include a theorbo (arch-lute). It you take a look at the recent release of the Academy of Ancient Music performance from Trinity College Cambridge they also use a theorbo in the continuo. As for the English pronunciation well I think its fine for a Czech choir. I wonder what foreign audiences make of English choirs singing in Italian, French or German? Indigenous choirs will always sound more natural in their pronunciation and I don't think its necessary to remark on it of course unless your a perfectionist.
As for the pronunciation, I believe they were coached for what was supposed to be the *period* English (=audible differences with respect to the received standard today).
@@jankucera8180 Well, English during Handel's time was already pretty modern, linguists even argue that the American accents preserve more aspects of accents and pronunciations of the 18th century English that its UK counterpart nowadays.
Nonetheless, they are a professional choir and should have received proper training to deal with any languages, at least for the most common European languages for sure.
Lol, I enjoyed the performance of the conductor as well. I did not find him to be a distraction and I am willing to bet that he is a pleasant taskmaster to work under.
Soloists that do not follow the tempo of the director beware. They are ALL wrong. The only one that is correct IS the director. All of these soloists are just playing it their own way. They have all gone astray every one to his own way.
It's hard work being in an orchestra these days. When I first went to the Messiah, 50 years ago, they just sat and played it. Now they have to sway around, make gurning faces, work their eyebrows - it must be exhausting. At this rate, in another 50 years, they'll have to ride a unicycle while sobbing their eyes out at every minor chord - but thank the Lord I won't be around to have to watch it. Sounded nice though.
Consider that we have so many expertly trained singers and players these days that expression is much more possible when freed of the stress of the process. These players and singers are really pros who, when at their best, can emote without being obtrusive, mostly, and show pleasure in the process. Recall the old films of Karajan and his austere look while commandeering the troops-so one sided. Years ago, no one dared to show expression for fear of being singled out. I can recall singing for Robert Shaw in the seventies and no one in their right mind would have dared to move out of place. He made great music but we as performers were not to be expressive. A recent video from the ACDA convention in Kansas City showed more than one choir where the singers are actually swaying in time with the music and still producing marvellous music. This can get distracting if taken too far but I think the biggest objection stems from the old-school belief that choirs/performers were not allowed to move in place, period. Would love to hear other conductors feelings on this topic.
Well, the sound, the pacing, the playing of the period instruments (including a lute which I've never seen included before), the soloists all are first-class in every way. Only one thing is off and it's apparent from the first and that is the phonetic way that every English word is pronounced. Even with the chorus. It's mostly off and butchered. They try. Everything else is great and worthy of praise, I should think, though. Happy Easter!!!
British english is unique , received pronunciation is always desired and expected by the most conservative british citizens but even God won´t be able to Pufiry them , because they think B.E is the best one . on Earth ... The Westmister Cathedral Choir 1950 -1960 once was the best ! hopefully all of his members are now in Heaven with Herr Georg Friedrich Händel , a GERMAN folk
As for the pronunciation, I believe they were coached for what was supposed to be the period English (=audible differences with respect to the received standard today). Of course, no-one but an upper class English native speaker can make an upper class English native listener happy, however hard they try. That is how it is... and that will never change.
The hurried tempo (in a public performance) is often taken due to a time constraint; not sure here if that is the case, but find enthusiasm thrilling at the birth of Christ!😊
1704 is the best. No doubt. Have been for quite some time. The composer is very good, "majestic" as always. But he is not as good as the Italians (especially Neapolitans) from which he learned his trade, Leonardo Vinci for example. To me, the difference between Handel and the Italians is the difference between overwhelming pomp and deep warmth, even if people enjoy the sensation. The Italian music in question is never overwhelming or grandiose. It is just closer to nature. It never seeks to impress. It just seeks to be beautiful. Leo Depuydt (Brown University)
1) Killer sopranos - chills you to the bone. 2) Use of music stands by chorus looks kind of weird and not typical. Looking down (too far) at score too much instead of addressing audience. And then seated with the stands blocking their faces (39:43, e.g.) - not good. 3) Good acoustics and good recording. 4) For Unto Us too fast - common error. Very impressive and expertly sung otherwise. 5) Blond violinist definitely earning her keep with all the closeups - beautiful long hair. 6) Could leave the ridiculously long theorbo or whatever it's called at home and nobody would know the difference. You can keep the ancient trumpet things, however. 7) Chorus comes across as much fuller because of their skill - no slackers. 8) Conductor gets it - he's not asleep or wildly waving his arms around. In other words, you can follow this guy. 9) All in all - top shelf. Very cleanly and crisply played, sung, and directed.
Interpretación mal gusto..., la interpretación del canto barroco es sin ese horrible vibrato de los solistas... Es insoportable oírlos, parecen estar en modo licuadora... Espantoso!
