![Handel - Messiah / Gritton, Mingardo, Padmore, Miles, Tenebrae Choir, LSO, Sir Colin Davis [includes DVD]](http://ecx.images-amazon.com/images/I/51BR3yH8FkL._SL210_.jpg)
Handel - Messiah / Gritton, Mingardo, Padmore, Miles, Tenebrae Choir, LSO, Sir Colin Davis [includes DVD]
Product Details
Editorial Reviews
Amazon.com
With an outstanding solo quartet and a great chorus and orchestra, Davis leads a sterling performance that challenges the supremacy of his 1966 Philips recording of Messiah. Davis leads a dramatic performance; the famous "Hallelujah" chorus appropriately grand, the final "Amen" bristling with brazen energy, both sung with extraordinary tonal coloring and precise articulation by the chorus, which also shines in a lithe "He shall purify" and a vividly virtuoso "For unto us a child is born." Soprano Susan Gritton's solos are a delight, whether in the measured "Behold, a virgin shall conceive" or her exuberant "Rejoice greatly." The vocal purity of her "I know my redeemer liveth" makes this track a highlight. Alto Sara Mingardo's darker tones are especially moving in her arias and dramatic in "He was despised." The men are almost as good; Alistair Miles sonorous in the bass arias and Mark Padmore recovering nicely after a somewhat mannered "Evr'y valley." The LSO is in excellent form too, the strings expressive in the orchestral interludes and the brass shining brightly in the big choruses of Part III, where the tympani thwacks are startling in their power. --Dan Davis
Customer Reviews
Stick With Philips, 1966
I found a used copy of this set for peanuts, so I thought I'd give it a try. Personally, I don't think it comes close to Davis' 1966 effort for Philips. That set, along with the roughly contemporaneous Charles Mackerras (EMI) and Robert Shaw (RCA) sets taught my generation a new way of listening to this warhorse. It is, however, better than Davis' early digital era set with Bavarian forces (also Philips).
I do not care for some of the conductor's interpretive decisions - the crooning of the choruses "Behold the lamb of God," "And with His stripes we are healed (which seemed to be sung unaccompanied)," and to an extent, the final "Amen". "Worthy is the Lamb" displays some odd articulation silences that interfere with the musical flow. The conductor also deletes the orchestral ritornello from the repeat of the "A" section of "He was despised" converting the only full da capo air in the oratorio to dal segno.
The soloists are ok, but no paragons. Susan Gritton sounds edgy and sometimes breaks the line to take a breath. Sara Mingardo has a nice contralto voice, but I don't care for the accent. Mark Padmore sang better for Christie on Harmonia Mundi a number of years back. Here he is more effortful and overemphatic. Alastair Miles compares unfavorably with his younger self with Cleobury on Argo.
The chorus acquits itself pretty well, but the sections don't blend very well and individual voices seem to stick out from the overall texture. The sopranos show a tendency to yelp - in "All we like sheep" for example. I can't fault their enthusiasm, though.
The London Symphony Orchestra plays well, but the recorded sound doesn't show them to the best advantage. Producer Mallinson and the recording team don't seem to have figured out a way to best represent the Barbican. String tone is wiry, a characteristic shared by the Haitink Beethoven cycle also produced by Mallinson. The SACD surround sound may reflect a decision to reproduce a "front row" perspective. Unfortunately, the close perspective also captures the constant obbligato grunts of the conductor a la Glenn Gould.
Some recordings just don't resonate with me, and this is one of them. I had hoped Maestro Davis would improve on his earlier efforts. He doesn't. I had also hoped the SACD sound would be something special. It isn't.
Must been seen and heard with a surround sound system
I have never written a review of any recording, but reading the 2-star review by RENS made me feel compelled to cast a strong vote of yes to balance things out somewhat. From his description of how headphone sounded better than 3 sets of speakers he tried, it makes me wonder if he listened to this multi-channel recording in plain old 2-ch stereo mode. Although many hybrid SACDs can be played in 2-ch SACD or CD mode, something is inevitably lost in the down-mixing. A complex piece like the Messiah with 4 soloists, a chorus and an orchestra really benefits from the new technology.
Like other reviewers, I'm a fan of the 1966 Colin Davis recording, own both the original vinyl LPs and the 1993 2-CD reissue. I also have the 1984 Colin Davis/Bavarian Radio Sym. Orch. 3-CD version. This new SACD has become my favorite. It has the spirited performance like the 1966 version and the audio quality is far superior when played on a good quality surround sound system that is properly set up. I would consider this a reference recording in the sense that if it doesn't sound great on your system then you might want to do something about your hardware. The full-body sound of the bass strings and tympani are incredibly clear and rich, the 5.1 ch set-up creates a 3D sound stage that's unmatched by any stereo recording, voices soar and linger in the air. Watching and listening to the companion DVD alone is worth the price of the entire set. I was glued to my couch and wish that there was a DVD release for the entire performance, not just the highlights. If it comes out in Blu-ray, that will be enough reason for me run out to buy a Blu-ray disc player.
I almost skipped over this SACD when I saw the lowly 3-star average, until I realized it's just due to one bad rating. This recording should be seen and heard by every audiophile who's still living in the 2ch-CD world. It'll make them want to upgrade or add a surround sound system.
Electronics: Sony SCD-C555es SACD player, Yamaha DSP-A1 multi-ch amp for center and rear spkrs, Yamaha MX-1 stereo amp for main spkrs.. Loudspeakers: Jamo E870 front, Mirage BPS-150i subwoofer, Boston Acoustic VRC center and HD5 rear.
Video: Pioneer PDP-5050HD plasma TV and Oppo DV-981HD dvd player.
Handelian Masterpiece
Sir Colin caps a brilliant career with a beautifully performed Messiah. The soloists are near perfect. Sara Mingardo's deep contralto voice is sublime and beautiful. Susan Gritton's coloratura passages are accurate and flowing. The chorus is first rate and sharp. The large powerful LSO gives Messiah the energy it needs. The recording is technically excellent with great spatial imaging, particularly when played back in SACD with surround sound. Tempos are perfect, rivaled by Andrew Parrott's recording with Emma Kirkby.
For a fascinating "spin" on Messiah, listen to the Mozart version.
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