Conductor
John Nelson
is better known for the likes of
Berlioz
than for historically inclined
Handel
, but 80 years old when this release appeared, he has earned the right to do what he likes. This
Messiah
stands out in a very crowded marketplace, making classical best-seller lists in the holiday season of 2023. There are several attractions. Most apparent from the packaging and graphics is the inclusion of a good deal of alternative material from the oratorio, which developed considerably in the decade and a half after its premiere. Some of these are grouped at the end as "alternative arias" (on the CD), an "appendix" (in online streaming versions), or simply bonus tracks. Others are in the main body of the oratorio, where
Nelson
mixes several versions. The expansive 1741 version of "O Death, where is thy sting" is rarely heard, and here, it seems beautifully proportioned. These genuine novelties aside, this is an exceptionally strong
that anyone can enjoy. The soloists are all appealing, with the delicate voice of
Lucy Crowe
and the tenor of
Michael Spyres
nicely tamping down his voice from his usual bel canto fare, being standouts. However, the best of all may be the
English Concert Chorus
, beautifully drilled by
into gloriously light passagework, yet capable of muscle in the likes of "Worthy is the lamb that was slain." There is a really sharp sense of engagement with the text in several choruses: sample "All we like sheep."
Warner Classics
' sound from the New St. Michael's Cathedral in Coventry is spacious but not indistinct, quite idiomatic. A wonderful
for those wanting a fresh one. ~ James Manheim