Handel: Messiah

Colin Davis’ live 2006 recording of Handel’s much-loved oratorio gains a fresh lease of life, as Spatial Audio broadens out the sound of this large-scale performance. However, this is no mere “traditional-style” Messiah, despite the stately pace at which Davis takes the opening Sinfonia. Soon into that movement, the string ensemble suddenly drops away to reveal a nucleus of soloists (concertante)—rather like a Bach concerto—instantly creating a sense of drama that jolts the listener out of any complacency. Still, those who prefer a rich and warmly expressive style for their Messiah may be assured that this is largely what’s on offer here. In the solo aria that follows, tenor Mark Padmore does no decorative flourish on his unaccompanied “Comfort ye”; and several of the solos in Part I (which foretell the coming of the Messiah) are taken by a contralto rather than today’s more usual countertenor. Sara Mingardo is particularly magnificent in her great solo in Part II, “He was Despised,” and her colleagues, the soprano Susan Gritton and bass Alastair Miles (plus Padmore), all prove superbly and consistently expressive. Yet, as already pointed out, this is a far from predictable performance. In the opening of Part II, “Behold the Lamb of God,” Davis disregards the usual forte (loud) marking—after all, it was not authorized by Handel himself—but has chorus and orchestra hushed and muted, as if chastened by what they are describing. And there are still some unexpected yet appropriate moments of decoration, such as the orchestral play out at the end of “O Thou That Tellest,” Tenebrae Choir sings not only with its typically superb ensemble and incisiveness, but also with an emotional commitment which testifies to a fresh reengagement with a text so empathetically and dramatically set by Handel.