Repertoire: The BEST Handel Messiah 

You can't beat Beethoven's take on Handel ""Go to him to learn how to achieve great effects, by such simple means."- Handel, my favourite composer, and in my estimation the greatest composer who ever wrote music for the human voice. His understanding of the capabilities and needs of his singers, whether soloists, or chorus, remains unsurpassed by any other composer, underlaid as it is by beautiful and stunning instrumental accompaniment and orchestral interludes. Serious, comedic, tragic, romantic, wistful, grand, celebratory or religiously fervent, it doesn't matter, Handel did it all, many, many times, and without parallel.

David Hurwitz: Appreciated your traversal through the bushels of Handel Messiah recordings, thank you! I just wanted to let you know that over the Christmas holidays of 2007, my family and I left the day after Christmas for London on a rather unique holiday trip, one which I will never forget. While there, we went to the Handel House for a visit, where he composed Messiah. When I was in the room contemplating where he composed the piece, I experienced a feeling (chills, if I must describe it) that I had never felt before, realizing that I was in the place where one of the greatest pieces of music ever was written. If you ever have an opportunity in the future to go to London, make sure you GO TO THE HANDEL HOUSE (and museum)! Incidentally, next door to it is the apartment (interestingly) where guitarist Jimi Hendrix lived for a time.

I was pleasantly surprised with the recording by Masaaki Suzuki and the Bach Collegium Japan. I wonder if others like it too.

The Hyperion Messiah is great. Truly exciting singing and the Hallelujah is truly wonderful.

One performance that I think deserves mention, which is actually my favorite for this piece, is Suzuki and the japan collegium bach. When I started listening to bach, I only heard Suzuki, and so it was natural that I turn to him in messiah as well. He introduced me to the piece and through him I fell in love with it.

It was Beecham's Messiah played on hi-end electronics and speakers back in December 1966 that got me hooked on classical music. I didn't know one could get that kind of sound out of a vinyl record.

I think any one loves when you choose the same recording we do at the end. And here it is a special moment. Your longest video. A music with hundreds of excelent version. And Pinnock is, also for me, unbeatable. It is the version I always compare with "new ones" for decades now. And it is alway my winner. You see, there are musics which we can live with one version (Iberia and Larrocha to mention a recent video of yours - who has time to compare everything with everything?), others I cant choose a best version (like the pianos sonatas of Beethoven - they can be played in so different ways all of them valid ones) but Messiah - so big music - I´ve tried a lot - and Pinnock always remains the first choice. So glad you agree. Pinnock is always wonderful in Handel - the colour of the orchestra, always the right rhythm- I do not have the words in English to explain why I love his Handel so much.

I love the Hogwood mainly for his choir; when I worked in a records store here (we had a separate classical section like the sadly now gone NYC stores of yore) I would play the first chorus for customers and they almost always took my recommendation, but I also like Somary, Pearlman, and the Higginbottom--the boy soloists are outstanding! Incidentally back when I worked in that store, Bruce Fowler, the tenor in the Pearlman recording, worked with me--he was a student here. I got a chance to chat with Pearlman at a concert here a few years and mentioned that.

I was happy to see that you included Luks! I discovered that performance on RU-vid before buying the CD, and it's quickly become one of my favorites. Despite the singers presumably not having English as a native language, the singing is clear and sensitive to the meaning. It's a lively and heartfelt performance that I encourage anyone to listen to!

Thanks, Dave, for this grand tour of Messiah and its adventures on record. I have a particular love for this work, and also a fascination for its performance history. Over the years I have collected dozens of versions to satisfy my voracious curiosity. I was delighted that you took us back to the bad old days, wonderful in their way, of Ormandy and Beecham. You could also have mentioned a dozen others of that period; Sargent gave us no fewer than three Messiahs and Boult two. I particularly appreciated your survey of the period performance versions, many of which I do not know. Colin Davis is still a reference version, as you noted; and Mackerras despite the gaudy ornamentation is hugely exciting. You even praised Solti's fine version which made me wonder, not for the first time, whether you really mean it when you characteristically say "he's not your favorite conductor." Well, he's probably not anybody's but a critical mass of his recordings are splendid. But I digress. One version that was considered revolutionary in its day, because it was the first to use reduced forces, Handel's original scoring, and a complete text is Hermann Scherchen's 1953 recording for Westminster. An absolutely fascinating rendition that blows away all the Victorian cobwebs and adopts some tempos that are almost unsingably fast, and a few that are almost unbearably slow. Scherchen's stereo remake, also for Westminster resorted to Viennese forces (the mono version was recorded in England), and wasn't as consistently enlivening, though it had some superb soloists (Alarie, Merriman, Simoneau among them). Finally, I wanted to say that I agreed wholeheartedly with your view that the work is best heard not during the Christian holidays. It's a dramatic oratorio, not a liturgical piece. Now how about some more Handel oratorio and opera reviews?

Wow! What a spectacular video! It makes one just thrilled to think about Handel's music and the absolutely breathtaking quality of SO MANY contemporary musical organizations, musicians, singers, and, yes, conductors! These are great days for music.

I grew up on Ormandy’s and heard Warfield sing it live. Thanks for not slamming it in the trash heap; it is great fun for its time as you mention. My current favorite is Dijkstra B’Rock Belgian Baroque Orchestra, Bavarian Radio Chorus on BK Klassik. I think it was well received on Classics Today awhile back. Thanks for a great talk.!

I have a weakness for The Scholars Baroque Ensemble on Naxos. It’s a very intimate version that made me like Messiah.

Handel’s Messiah was always part of my life as it was my father’s favorite piece of music. But it was vary late in his life when he first heard it in its entirety (he lived to age 94). The Ormandy recording with the Mormon Tabernacle Choir that you mentioned was much played in our home. I bought my dad the Hogwood recording when he was about 70. Being raised a Christian, Handel’s Messiah has always been a statement of faith and the articulation of the words particularly in the choruses is extremely important. This is one of the greatest virtues of Pinnock’s recording (which I just downloaded after viewing your video). It is nice that Pinnock slows down during some of the most beautiful and heartfelt solo passages. It is indeed a performance for the ages. Arleen Auger has never sounded better!

What about Raymond Leppard conducting the English Chamber Orchestra and Chorus with soloists Felicity Palmer, Helen Watts, Ryland Davies and John Shirley-Quirk? To my ears one of the best recordings of this wonderful music! Greetings from Norway!

So glad you did a video on the Messiah. It was my first (very first) piece I ever heard.... of music ever.... and it will always be special to me. I agree that chopping it down ruins it and I always thought that. Funny how you said you listen to it as a "summer piece" :-) I put it on all year round... I never get sick of it, but when I do, I listen to the whole thing, and I even had the pleasure of singing THE whole work a couple years ago. :-) (Though it was at Christmas time... but at least it was the unabridged version... :-) )

I sang excerpts in high school chorus, grew up listening to Mormon Tabernacle excerpts. My roommate's LP version with Robert Shaw opened my eyes and ears. When I could afford my own LPs, got the Colin Davis, loved it and still have it. When I migrated to CDs, I saw/heard no reason to desert Colin Davis. When I listen now, I listen to the whole megillah in a single sitting. Still awestruck!

Excellent video very entertaining & informative… Thank you for sharing your expertise and helping us sort out all these variations

Glad you mentioned the Marriner - wonderful, spirited performance with great soloists. Have to say as well Pinnock generally really didn't put a foot wrong in large scale choral works - his Haydn Missa in Angustiis 'Nelson Mass' & Te Deum are knockouts too IMO.

This was very helpful. It's difficult to wade through a mine field of goodies.

Thanks for the splendid Messiah overview. The 1966 Colin Davis and the Trevor Pinnock recordings you liked so much are the ones I turn to most often. You mentioned a CD with mostly Czech performers under Vaclav Luks: I don't know the CD, but there's a video on RU-vid with Luks and Czech performers which is really fabulous - the visual element, which allows us to see as well as hear the youthful enthusiasm of the singers, adds so much. I agree with you that the Marriner on Decca is worth hearing, but his later one, recorded live, has been widely panned, so be forewarned. Also, your listeners should know that Mackerras, in addition to his EMI recording, later recorded a very different large-forces version with the Royal Philharmonic and the Huddersfield Choral Society, a version that incorporates a lot of the Mozart additions. Regarding Solti: I read somewhere that his alto soloist was supposed to be Marilyn Horne, but she had to cancel, and Gjevang was a last-minute substitute.

I was waiting for the Pinnock version, which is my favourite Messiah, and there it was at the end! Totally agree, there is no other version that beats Trevor’s. It makes the hairs down my spine quiver 👍👍👍

Thank you for this palette of Messiahs. I look forward to checking out all your faves.

Todah rabah dear David for your amazing work!

You chose MY favorite recording, the Pinnock. YAY!

Glad you like Gardiner, the one I like.

Wow! Messiah was the work that made me decide to pursue a career in musicology (a career that never materialized despite four undergraduate and four more graduate years of studying music history) when as a 12-year-old, I acquired the recording by Leonard Bernstein and was shocked to discover that it wasn't complete. In my earlier years, I looked for a more "authentic" performance, starting with one I'm surprised you didn't mention: Scherchen (either of his two), which predated the original instrument groups in trying to restore Messiah to its full length. I eventually assembled 25 or 26 (I gave at least two of them away), and surprisingly, my fave has been the Beecham. If only RCA would re=issue it with all the sections Beechum put in an "appendix" back where they belong! But your selection of recordings, which surprisingly overlaps very little with my collection, has made me want to acquire at least three more, something I swore I wouldn't do. You are a great salesman for classical music!

Vaclav Luks and Collegium 1704 are the real thing - they are top class. I moved back to Prague some months back, and I'm absolutely in mourning that I can't attend live concerts - I was so looking forward to hearing them. Their Messiah is wonderful, as are their recordings of Myslivecek, Bach, and especially Zelenka. One very weird recording from way back is Hermann Scherchen on Westminster. Very, very dark and dramatic.

Just discovered this channel and video in particular - great stuff! Having sung under Stephen Layton I can confidently say that the freshness you speak of is absolutely his doing; through his words he inspires you sing anything from Byrd to Howells like it is an absolute gift to be able to be there and be making that music together

Quite a grand surrey of this work's recorded offerings. Very first Messiah I obtained was Pinnock. Grabbed Colin Davis' for a dollar at the thrift score. And very interested in further exploring! Much to consider and enjoy. Thanks David.

Wow. Talk about learning something new every day!

. I was flabbergasted when I found the Pinnock Messiah in a garage sale.. I bought it because you suggest it. Marvelous. Thank you. But I will still listen to Mackerras one on Emi.

1:07 a.m. I have several of the versions Dave recommends and agree with him on most of them (I actually like the Minkowski), but my favorite is one he (understandably) didn’t mention is Richard Bonynge conducting the English Chamber Orchestra and Ambrosian Singers, with Joan Sutherland, Huguette Tourangeau, Werner Krenn, Tom Krause and (very briefly but effectively) a boy soprano. Bonynge adds so many lovely touches and lets his wife and Krause have a field day with ornaments, it’s simply dazzling. Modern instruments but very Baroque in style.

What a great talk. I've been listening to classical music for years and have never once listened to Messiah. It's time! Trying out the Pinnock recording.

Thanks for this lovely video. I watched it from start to end with great pleasure. Regarding the season, well, in Israel we have Messiah on December and January, February, March , April and so on and on. The same with Bach's Christmas Oratorio. As for recommendations, I'm with you regarding Pinnock. The best ever and for ever. I like as well Parrott for his chamber and intimate feeling and his complete opposite McCreesh. For moderns instruments I'd like to mention Colin Davis with the Bavarian Radio Symphony Orchestra if only for the superb singing of Dame Margaret Price.

Dear David, My Messiah collection started about 50 years ago with highlights of Beecham’s “incorrect” but still delightful recording. Thanks for your tips I added some wonderful new items to it and the Layton/Hyperion got me really thrilled. By the way I would suggest you to do a chat about your opinion about streaming on classical music, since nowadays it’s so appealing. Thank you so much and keep on posting your wonderful videos!

Just plain wonderful.

Thanks! Graet Video! I love the Adrian Boult version. Is very huge but have great air versions (and some choruses)

We agree on Trevor Pinnock. My search has ended.

Regarding when to perform, I'm afraid that Messiah has become for choral ensembles what the Nutcracker is for ballet companies. If you perform it every Christmas, you'll sell out concerts and make more money than you can any other time of year. It's like retail--most of your revenue comes in the last quarter of the year. From the listening public's perspective, this isn't such a bad thing: if you're going to listen to live performances of one piece over and over, you could do worse. But I don't know how the players maintain their interest. It surprised me when I had conversations with members of the Pittsburgh Symphony that much of the demand for new repertoire comes from the musicians, who understandably want new challenges. On a personal note, my mother bought the Colin Davis/LSO when it first came out, and for a long time it was our only classical album. She heard it was the way the Messiah "was supposed to be," meaning not the Mormon Tabernacle Choir. But it was "Christmas" music for her, and it played constantly during the season. Even as a child I loved it, and it remains "The" Messiah for me, although I probably listen to it only once every other year or three. But I can't help singing along when I hear it. I'll put in a good word for the Dunedin Consort Dublin version. It's well down my list of favorite recordings, but I found it a helpful means of refreshing my ears so I listen to standard versions more attentively.

Chapeau! Splendid introduction to The Messiah! 😉 And I so much agree: this is a work for all seasons! Whether you are religious or not, the music encompasses and conveys an immense breadth of human experience: birth, death, joy, sorrow, hope, despair, majesty, simplicity....and so forth and so forth. Ps. May I propose a seasonal event, though: A New Year Special devoted to music by the Strauß dynasty and nearest surroundings (- or alternatively Decca's 'Willi Boskovsky, Waltzmeister' box, which also would give you some possibility to explore a bit of gorgeous chamber music making)

My favourite version of Handel's Messiah would have to be Sir Colin Davis, but not with the LSO. It was with the Bavarian Radio Symphony Orchestra (Symphoniesorchester des Bayerischen Rundfunks), on Philips. Davis' tempos are perfect, and the BRSO plays exceptionally well. The soloists were perfect as well. Dame Margaret Price leads with the soprano role, and Lord does she accomplish it. In her Part 1 aria "Rejoice greatly, o daughter of Zion", she shows great skill and agility. The follow up to Price is German contralto Hanna Schwarz, and in her arias "But who may abide", "O thou that tellest" and "He was despised" are deeply moving, especially "He was despised", with Davis' tempo and Hanna's beautiful voice. After Schwarz you have the so-called "King Of Mozart", Stuart Burrows. Burrows' singing voice is simply God-like, especially in the mentioned accompanied recitatives ("Thy rebuke hath broken his heart" etc.), and the first aria "Ev'ry valley shall be exalted". Then finally the bass is Simon Estes, an African-American bass who's now internationally known for his beautiful voice, and he does very much lives up to it.

Hi Mr Hurowitz, I become addicted to your channel, many thanks! Gabriel from Israel.

Love the Christie version, especially Sandrine Piau's arias (wow!). The Sixteen version on Hyperion was recorded live and suffers a bit from a low transfer level. You really need to crank the volume to get the most out of it. I tried to like the Pinnock version but can't understand why they chose such a *massive* bass voice for the solo part. In concert it would probably be amazing but not for repeated listening. Maybe I just need bigger ears.

If, like me, you were born 13 years earlier, you would have been brought up on Sir Malcolm Sargent's Messiah. It has an earthy honesty and very enthusiastic singing.

Thank you again. I had really been looking forward to this one. There are so many great ones, and of course you can’t cover them all-but this was a great sampling. I resonate with a number of your choices, especially Pinnock, Christophers, and Gardiner. Higginbottom was new to me, but sampling it further on Naxos confirmed your recommendation for me. In regard to modern instrument performances, there is a later Colin Davis with LSO that is good, and an excellent version by Raymond Leppard in the Handel edition on Warner which I would have to say is one of my favorite versions overall. It seems to have just the right stylistic acuity which gains from an awareness of Handel’s context but which also employs all the advantages of what came after in terms of instrumental and vocal range of expression. He conveys all the various moods and meanings in the text quite well. The sound is somewhat recessed and there are choirs that are better, but overall I still think it’s one of the best. Any thoughts?

I’d like to hear Dave talk about the Harnoncourt version. It is so odd; almost perverse - but I love it. It seems to me that an interpretation like Harnoncourt’s is worth a good ten-minute discussion.

So many great recordings . The Colin Davis / LSO is still incredibly popular despite the many authentic performances on the market. I am particularly fond of an old SAGA recording conducted by Frederic Jackson. Alongside the LPO choir and orchestra you have the excellent Heather Harper , Helen Watts , Roger Stalman and above all the tenor Duncan Robertson whose rendition of his solos is outstanding both in tone quality and emotion. It is a pity and somewhat odd Decca never gave Ferrier the chance to record her interpretation of the alto part complete . They had promised it to her when she switched to them from another company. She had to make do with recording ' O thou that tellest' and the 'A' section of He Was Despised and that was that. Personally I can enjoy both 'authentic' and grandiose performances of Messiah. I wouldn't want to miss out on Jon Vickers ' dashing them to pieces' or Norma Procter's warm voiced ' He shall feed his flock' or Elsie Morison ( Kubelik's wife) singing 'I know that my redeemer' with ringing sincerity and soaring tone in the final phrases.

Sorry you find boy sopranos a bit creepy. From ages 10 to 12 or thereabouts I had a good enough alto voice to be asked to solo in church and school choirs, a gift I wish I'd better savoured at the time. I loved singing and the only creepiness I experienced was during a solo at church when one of my fellow altos in semi-darkness at the back of the stalls had learned how to reach the base of large crucifix next to the altar with his feet, and rotate it during my performance. At that age the giggles are never far away and I imagine it wasn't one of my better efforts.

We do the Mozart arrangements because otherwise a good portion of the local orchestra would have nothing to do. No, it's not horrible and some of our soloists are excellent.

I have Colin Davis's classic recording, which as you say is absolutely fantastic. The thing is that I've sung it in choirs so many times (I'm talking dozens) that I can hardly imagine myself sitting down and listening to it.

My favorite is the Cleobury with the King’s College Choir (1993). Just listen to those boys singing All We Like Sheep, the clarity of the divisions. Great English soloists, too.

At university, I had a friend who owned (at the time), 17 different recordings. He suggested if I got one, it was Christie’s version. It is a great piece yet I only own this recording. I personally don’t see how you can beat Scholl and Padmore as soloists and the orchestral playing is top notch. I did look at getting the John Butt a while back, but alas not yet got a shelf of Messiah. Unlike Ein deutsches Requiem which is nearly twenty recordings worth!

David, I think I might be a Messiah addict. I currently own Eighteen recordings on CD and Downloads of this work. Most of the ones you mentioned are in my collection, including the Pinnock, Hogwood, Gardiner, Higginbotham, Butt, and the Telarc Shaw and Pearlman. I have to say the Pinnock is one of my favorites. The Pearlman is as good a performance and recording as you will ever get. The Gardiner and the Christie are almost the same recording. But if I had to pare down to just one recording it would be the Pinnock.

Thank you for the sample to illustrate your argument.

I am very fond of a recording Robert Shaw made on RCA with the Robert Shaw Chorale. As expected, the singing is very good. They seem to be singing it with great zeal.

I've had the Pinnock for probably 20 years and didn't think it could be bettered, but then I heard the Pearlman/Boston Baroque and it became my new favorite. Used copies of it are available dirt cheap.

I have to agree with you regarding guilty pleasures - I have always enjoyed the Beecham and Klemperer versions, although I prefer both in other works. The Pinnock is the one I turn to when I prefer something closer to Handel.

I just listened to Justin Doyle's recording on Pentatone and what a good surprise! I was completely in awe of the clear stylishness from everyone and the beautiful singing that abounds. It's gorgeous! I just lament that it's a bit cold in places. Where it not, it would be easy to choose for me. But despite that, it has so many wonderful things to savour! For now, maybe I'll get Christie's, which seems to be a well balanced reading and less clinical in interpretation and recording (even if I can't warm to some of Padmore's and Berg's more forceful passages).

Thanks for dividing the large # of choices into period, traditional, historical, etc. On Pinnock's version: Agreed. Glad you mentioned even Klemperer, whose excellent traditional version came out on the eve of the period instrument craze. It sounds operatic now, of course. I hadn't heard the Higginbottom, and was surprised that the "r's" came out sounding American. As a veteran choral singer myself, I always notice that. It just sounds "wrong", but that's me. I agree entirely on the 1959 Beecham: great fun!

My three go-tos are 1966 Colin Davis, Mackerras for the alternate 12/8 "Rejoice Greatly,", and John Butt's Dublin version.

This was wonderful and I would very much appreciate a talk on Handel operas.

I looked online on a link. So many recordings. One of them I remember seeing is Otto Klemperer recording from 1964.

At last,someone has said it!The Messiah is emphatically not a Christmas piece.The problem being that for most Western Christians - despite the theory - Christmas is the principal Feast of the year (unlike the Eastern Orthodox who rightly insist on giving Easter priority).What never ceases to amaze me is the masterly conflation of Biblical material we see in the text.

Layton all the way. Dave you said it yourself - after the Hallelujah Chorus you want to feel “HALLELUJAH!”, not “Meh! that was neatly manicured and well produced”. You could go through a list of scores of interpretative points in the Layton performance, but the underlying element is one of joy and liveliness. His singers are young and brilliant: his soprano: Julia Doyle and countertenor Iestyn Davies I have never heard of before but they are absolutely outstanding. Some of the finest singers of our era have sung the arias on other performances, and I would like to keep some of those individual accounts. But this is a “Messiah” I would actually listen to often - not only at Christmas. HOWEVER - as you would say Dave "however": the version of Messiah I listen to, is one I have edited together, from seven different performances, for my own joy.

Wow, you have outdone your considerable self with this one, thank you! I had not previously heard the Solti, Christie, or Pinnock, all revelatory in their respective ways, with the Christie being my favorite of those three. I also have affection for the Ormandy. You did not mention four recordings, one of which is the most perverse, one which might be considered perverse, one a stereo remake which is funny and weird, and one one which is a solid modern instrument approach with great soloists. The weirdest and worst IMO is the Leonard Bernstein, heavily cut and even rearranged as to the order of set pieces! The other one I hold in great regard is the first mono Hermann Scherchen from London: first, because of the reduced forces, which in 1954 was a revelation in that: it was not what I call the usual "cast of thousands Yorkshire pudding approach" which had been in vogue for decades, the superb choir, and the excellent, dramatically involved soloists. You will find certain tempi therein unlike in any other, most of which I find beguiling: for example, the SLOW Pastoral Symphony and the very slow and overwhelmingly triumphant final AMEN chorus. Scherchen remade this in 1959 in Vienna, and it is a total disaster; to hear the German speaking choir mangle the English language is riotously funny, and Scherchen's tempi are no longer provocative, rather just downright weird. The solid as a rock traditional outing, also with superb choir and soloists, is the Otto Klemperer. To hear Jerome Hines sing 'The Trumpet Shall Sound' is enough to make one believe the last days are upon us! Thanks for listening, Mr. H, and thanks for all you do for us music lovers!

Thank You! 🎶

Great lecture! Inspired me to add nine more Messiah recordings to my collection. So many comments here, that I didn't get around to reading them all, but in case no one else caught it, your comments about a DIY Messiah CD release apply to McGegan's, not Gardiner's.

The new Morman Tabernacle recording is really quite good. Sonya Yoncheva, Tamara Mumford, Rolando Villazon, and Bryn Freaking Terfel. Beautiful singing. Not the most exciting ever, but it’s beautiful singing.

As Dr. Dave says in a different video, vis-a-vis the Ormandy recording: ten thousand screaming Mormons!^^

Dear Dave, wow what a magnificent review!!But please for those of us who celebrate Christmas would you please gift us with one of your wonderful videos reviewing the best recordings of Christmas Oratorio?

The Choir of Christ Church Cathedral, Oxford, under Simon Preston, with Hogwood and The Academy of Ancient Music belts out the Hallelujah section much more dynamically and with more feeling than I'm hearing from the Choir of New College Oxford, but then I'm only listening to this via your video here.

Kudos on holding my interest for 51 minutes...I thought the Messiah might come by the end of things. Your very first recording is among my favorites; why not Ormandy with the Mormon Tabernacle? It’s very, very fun and keeps you at the edge of your seat. The Naxos clip you played is indeed hot stuff, I’ll get to the bottom of Edward Highinbottom soon.

2 points. First, regarding the Ormandy recording: Eileen Farrell told this anecdote herself. When Ormandy approached her about being his soprano, she told him that she did not sing 'Rejoice Greatly'. And she didn't despite years of singing Bach cantatas. (Yes, I know all about the Bach Aria Group and its history of unstylish Bach. Still Farrell always credited her lyrical Wagner singing to her Bach, which she used as a reminder not to sing heavily. And by the way, even Sutherland found "Rejoice" a tough row to plow.) Obviously, Ormandy hired her anyway, and indeed there is no 'Rejoice' to be found....a point seldom mentioned. Second, I find it interesting that people refer to the Shaw recording from Atlanta, and ignore his 1966 version, which he and many others rated more highly. That's the one that rather broke the ice in America. John Tobin, of course, had done it in London - St. Paul's Cathedral - in March of 1950, using his own version, the product of nearly unbelievable research. His 1976 recording is available on RU-vid, and quite interesting to hear...with many merits. Most people I imagine will not make it past the opening tenor sequence, but should persevere for some very individual rewards. By the way, at the other end of the spectrum (though much akin in many ways) is the performance on Naxos by the Concert Artists of Baltimore, with the Baltimore Symphony Orchestra, all under the direction of Edward Polochick....very speedy, but with some very interesting ornamentation...and a number of points for debate.

This was a wonderful video, as always, but quite depressing for me. I discover how a bad listener I am. The recording I love most is the one by Richter, sang in german. This because I love Janowitz...

thank you for you videos....i have two versions since long time i listen....sir malcolm sargent ( stereo) and karl richter ( dgg)....the version of sargent recorded at liverpool with ordinary people is so magnificent....! with excellent solist....so i know this is a messiah in the victorian tradition in england ,but i d,ont care ...i'ts beautiful

I think the best "English chapel" version of "Messiah" is Stephen Cleobury's with the King's College Choir of Cambridge and the Brandenburg Consort, recorded in 1992-93, originally on Argo, reissued on Decca. Soloists are soprano Lynne Dawson, contralto Hilary Summers, tenor John Mark Ainsley and bass Alastair Miles. NOT to be confused either with the Cleobury version issued on Brilliant Classics, recorded with the same forces in 1993 at the Pieterskerk in Leiden, Netherlands, a much duller acoustic than King's College Chapel; or the Warner Classics version of 2009, which lacks the precision and punch of the Argo/Decca.

The best thing about the “period instrument movement” is that they play the entire thing! Most of the time, they do it well! No period instrument ensemble plays it at Christmas either, Corelli has that area covered in my area (Christmas Concertos). I’d like to hear about your favourite Vivaldi Four Seasons, which is, in my opinion is the original tone poem! My favourite is surprisingly, a very fiery period instrument recording, featuring someone I happen to know in person as a soloist! I really can’t stand boy soprano soloists as a voice type either. It was a trend in contemporary classical for a bit as well (Lloyd-Webber, John Rutter, Karl Jenkins, I’m especially looking at you three, BLEUGH!!!).

Your're absolutely right about the fact that historically informed performances on modern instruments can sound very much like the one on authentic instruments. However: all singing is a half tone higher/lower. Soundwise that makes a big difference. The vocal registration is very different and also the amount of "force" you might need on certain high notes. In that case a modern performance can either be more thrilling - or too worked up.

You made me wait! Pinnock! Recordings I no longer have: Klemperer, Sargent [two recordings], Mackerras, Wilcox. None really pleased me. [As a double bass player it was my most played music in performance, because amateur orchestras and choirs need at least a strong bass-line from the band, plus a good trumpet and drums, and the rest can sort of get by to some extent in the band if the choir are good, but it figured so big I more or less knew it without having to refer to the printed part very much!]. I remember Roy Massey [Hereford Cathedral Organist] leading the annual Cathedral performance with the Hereford Cathedral Choir [all male] thoroughly outnumbered by the Hereford Choral Society [mixed gender] giving glorious energy and weight to the Choruses, while Massey always managed to get national quality soloists, though he refrained from counter tenors for the Alto solos! These days they do itty bitty performances which fall into the floor by about the sixth row in the audience. Dr Roy Massey has been retired for a good thirty years! Times have changed and not especially for the better where Messiah is concerned. But Pinnock struck a good balance all those years ago using something like an HIP approach but fantastic soloists and a Wonderfull mixed choir. I got Pinnock as a new release, and hope one day to find a recording I prefer. In the meantime I am completely happy to have it as an only recording these days. Best wishes from George

After hearing Dave's opinion of it, of course I had to go listen to Emanuelle Haim's Hallelujah Chorus. It sounded like the "Telephone Hour" from "Bye, Bye Birdie".

Dave; In a show I listenned to recently, you mentioned your brother living in Cleveland at some point I could not help wondering whether Apollo's Fire, the Cleveland Baoque Orchestra is on your radar screen. In past few years they have performed at Ravinia, Tanglewood, Carnegie Hall, the Proms, etc.

I've been listening to John Rutter's recording with the Cambridge Singers and the Royal Philharmonic, and it's terrific. The soloists are generally good (especially the bass and soprano), and the choir simply has to be heard to be believed. The RPO under Rutter play very well; modern instruments, but historically informed, which means there's plenty of zip and some effective ornamental flourishes in the arias. I bought it on impulse before Christmas, and I'm so glad I did; it's already joined my list of favourite Messiahs, and I'd happily recommend it to anyone who loves this work.

When I was in Lonson en route to Israel in 1996 I visited the British Museum. There I saw the autograph copy of Handel's Messiah. Right next to it was the autograph' copy of the Beatles' Eleanor Rigby. I thought the arranement was appropriate.

Dave - greetings from the Penal Colonies. Hearing John Eliot Gardiner's Messiah - an exercise in prim rectitude and scratchiness - set me back a decade (in the very least). Thanks for the talk and best wishes, B

I have always preferred a female alto instead of countertenor. "He was despised" rarely sounds as affecting as it could be with a male voice. Anne Sofie von Otter is the best for me with Trevor Pinnock.

I came into this video with my three favorites being Colin Davis/LSO, which you mentioned; Gardiner, which you mentioned; and one you did not mention, the John Butt/Dunedain Consort recording, which you must check out. Butt does the original Dublin version; in its 1742 premiere the work was performed with a dozen singers, a dozen string players, trumpets and timpani, with Handel leading from his own organ he had shipped there, and that’s it. You don’t need woodwinds or big numbers when you have 28 people squeezing every last bit of color and drama out of themselves and the text. It sounds like an epic Irish ballad about the story of everything. I highly recommend it. One of the reasons the Butt recording is a revelation is that you realize the vulgarizing of Messiah didn’t start with Mozart or the performance by something like 700 people in 1782 in Westminster Abbey; it started with Handel himself when he took it to London, expanded the orchestra, took Charles Jennens’ suggestions to make it more “dramatic”, etc. It turns out the version he wrote in 24 days was fine as it was. I agree with you about the Andrew Davis version and was distressed to find when I moved to DC a few years ago that’s it’s become the favored version by the NSO. Ugh. There’s a reason the trumpets and timpani play so seldom because it makes the moments when they do play that much more effective. Anyway I somehow missed the Pinnock version the first time around, and I promise I will check it out. Thanks for the video.

Just saw this. I'm adding Layton to my other 28 Messiahs. Thanks. Update: Layton on Hyperion heard and it's fantastic. I wasn't adoring the idea of ofhaving a countertenor doing all the alto solos but Davies justifies it. I've heard and have many Messiahs but this performance really makes you sit up in your chair, just one example among many the strings in 'refiner's fire' et. seq. The bass, Foster-Williams, is the best I've heard since the young Shirley-Quirk in the classic C. Davis Philips set; I only wish he'd been allowed the full da capo of 'Trumpet." The whole performance is on fire, so crisp and clean. Wow.

Since an objective of mine is to spend no more money from my dwindling reserves, I was relieved to find I have but two recordings of this, but those two ticked David's boxes for best of old and new: Beecham and Pinnock. So I'm all good.

Harry Christophers, William Christie, and, my first love, Paul McCreesh with the Gabrieli Consort. A much over-looked performance with some great singing.

I know some messiah snobs...lol. I relish playing the Beecham/Goossens because it is such fun!

Sutherland was originally scheduled for the Beecham stereo set but he fired her saying she was the wrong voice type. He was right

Regarding the attention to the words, I like the way Paul Elliott - the tenor for the recordings conducted by Hogwood and Koopman - dealed with the ones of the first aria. I know: Elliott does not have neither a strong voice nor a gorgeous timbre, but he sang about comforting people, exalted valleys, mountains made low and rough places made plain quite eloquently

Andrew Davis and the Toronto Symphony made a recording of Messiah back in 1987 for EMI with Kathleen Battle, Florence Quivar, John Aler and Samuel Ramey. It's everything that his latest recording isn't. A truly magnificent effort every bit as good as Mackerras'. Makes you wonder what happened to the guy since then.

I had Bernstein's on LP back in the 60's which I liked but his tempos were unique and I think some may take issue with his interpretation. Any thoughts on it?

I first got to know Handel's Messiah through listening to the Charles Mackerras/ECO recording that you recommend so highly. As a teenager at the time, I was moved very deeply by Elizabeth Harwood and Janet Baker in He Shall Feed His Flock, which no-one seems to me to have bettered. But, even as a relatively unknowledgeable teenager, I found the ECO's strings somewhat flabby overall. Nonetheless, it is still the recording against which I judge all others.

For amazing ornamentation, hear Joan Sutherland in Sir Adrian Boults version. Thank you for your review of so many version. There is also a German performance woth Lucia Popp.

Dave, is it possible to have too many Messiahs? ;) I have the Pinnock, that Tomlinson is a KNOCK OUT bass. But I'm also enamored with John Butt's stripped-down version (love the soprano & alto!), which I suspect you can't stand? haha. Also, Harry Christophers & The Sixteen's version is quite compelling. Good lord, many heavens to have. Messiah & Mass in B minor must be the Alpha and Omega of religious works. (I don't really think of LvB's Missa Solemnis or Mozart's Requiem as remotely religious.)

What are your thoughts on Karl Richter & London Symphony & John Aldis Choir's Handel's Messiah on DGG?

I include John Butt (Dunedin Consort) on my list of favourites . No bassoon or oboe (probably not available in the first performance in Dublin). But a joyous and performance of an authoritative interpretation.