Handel: Messiah

Pity about this remastering. As a few others have mentioned, there is a static distortion throughout this set, making it quite unenjoyable. This type of distortion is most curious as it doesn't sound like good old-fashioned overload distortion (as well it shouldn't, given this is a digital recording). Instead, it sounds like an electronic static, randomly occurring all through the recording, perhaps caused by a lose microphone connection during the recording session.But that proves NOT to be the case. I listened to the highlights disc on a 1990 Silver Seal issue and there is none of this distortion. Incidentally, I was amazed to hear that earlier remastering is warmer and more laid back than this High performance issue as well. The HP is cleaner and more dynamic, however, which many may prefer. But somehow in the remastering process, an electronic distortion has crept in, quite ruining a most wonderful recorded performance. On a high-quality sound system, it is even more revealing (and distracting) than one might hear on crappy speakers found in most boom-boxes, computer systems and MP3 players.This is the only complete Musica Sacra performance on CD, and is therefore all the more regrettable that it has been ruined. Alas, we will have settle for the highlights disc. I wish SONY would go back and give it a fresh remastering and release it in their remarkably wonderful Masters Series. We really deserve another chance to enjoy the complete performance in good sound.

This is a Messiah of distinct high peaks and low valleys. First, the weaknesses: In general, the soloist work here is decidedly mediocre. Judith Blegen has a a beautiful voice but lacks baroque expressive qualities. The alto, Ciesinski, seems to have been selected for her resemblance to the original alto, Mrs. Cibber, who was supposedly a weak singer. The pair can't hold a candle to the female singers in my favorite Messiah, Lynne Dawson and Catherine Denley on Harry Christophers' Hyperion version. The tenor here, John Aler, tries mightily but has been bested by more recent tenors such as Phillip Langridge or John Mark Ainsley. Tempi in the arias are often slow compared to more recent "authentic" performances--sometimes annoyingly so.Now for the highs: Since this was recorded in 1981, Handel studies have advanced, but even so, Westenberg's scholarship still impresses. He uses that knowledge to produce what may be the best ever booklet accompanying Messiah recordings, where he explains compositional details of each piece, and his interpretive approach to each one. Some of these ideas don't hold up--I'm not convinced by Westenberg's argument for assigning "But who may abide.." to the bass; and he decides that there should be no pause between the end of many pieces and the beginning of others. But many interpretive choices are excellent: Westenburg picks what might be termed a "medium-small" choir (29), not as small as many recent period recordings, but much smaller than old-style Huddersfield masses. And this Musica Sacra choir is skilled! The choruses, and the precision with which they're handled, is the main reason to own this Messiah. With this sized choir the choruses have a good deal of "weight" without losing to much clarity. And, as opposed to the arias, Westenberg takes the choruses rather briskly.Caution: The BMG 24/96-bit "High Performance" remastering process used here will expose stereo systems of less than high-quality (like mine). If you lack good speakers, you may want to think twice about this recording. If you've got a good system, on the other hand, the remastering here may be a definite plus.(If I could I'd give this 3.5 stars, but the soloist quality just prevents me from giving 4.)

The best Messiah I've ever heard. Lost my original CD and am delighted to find a copy.

The CD is really much better than the original ..... been looking for this version on CD for a long time. Thank you!

Makes me religious even though I'm not----best rendition I have heard and am happy that it was available even though it was done years ago.

Though Westenburg's rendition is among the slowest paced of Messiah recordings clocking in at 2:29 [complete Messiahs run from about 2:12 to 2:30], it doesn't seem to drag or be too stagey. The baroque pedigree stays intact despite the warm and thoughtful way the choruses and solos are sung. I have only one minor nit with respect to the chorus - the voices could be more clearly separated and distinct. I know that the recording technology has improved since 1985 but some recordings [especially newer ones] have a bit more clarity & parts separation. The soloists are uniformly excellent and the orchestra and chorus are as good as I've heard for The Messiah. This one is one of my 9 complete recordings and one of the best. It's not far from being "the gold standard" for this oratorio.

I LOVE THIS ALBUM, WOULD RECOMMEND TO ANY CLASSICAL LOVER.

Excellent.

Superbe enregistrement. Je suis tout à fait satisfaite. Ma commande est arrivé le surlendemain. Excellent service!

アメリカのAmazonで、毎年出ていて、しかも売れている…指揮者もオケも無名、ソプラノのジュディス・ブレゲンだけは、かろうじて知っているくらいな予備知識で「まあー…安いから」と買ったんですが聴いてみると凄い良い演奏…これなら売れるはずだと納得しました。81年のデジタル録音、しかもRCAなんで音質的な不満は一切無い…バランスが良くて聴きやすい。曲目は一切カットがなく、マクリーシュ盤のように全ての曲を網羅しているようで聴き応えがあります。オーケストラも合唱も比較的小さな編成…ゆったりとおおらかなモダン楽器による演奏…アカデミィ旧盤に近いが英国の如何にもバロックという感じの貴族趣味的な優雅さはなく、オルフェウス室内のような気さくで解りやすい演奏、しかも全然うるさくない…私は熱演も好きだけど、こういう普遍性を持った質の高い《メサイア》を探していたんです。合唱はホントに教会で歌われるような心地好い響きで好みです…ヘルムート・リリングのカンタータみたいな普遍性がある…ご飯食べるのと同じくらいな自然体な神への賛美です。ソリストも皆さん、普通に上手いけど、過度にオペラティックな英語でないので聴き取り易く、優しく語りかけるような独唱で説得力がある。オーケストラもアリアの時は特にゆったりと控え目でアルトの「彼は侮られ世に捨てられて」、ソプラノの「私は贖い主が今、在ますを知る」など絶品です。バスの「トランペットが鳴り響けば」も素晴らしい。ハレルヤも良いんですが、最後のゆったりと祈るようなアーメンコーラスが素晴らしい…ジーンと来ます。