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After a magisterial interpretation of the highly theatrical Saul (Editor’s Choice in Gramophone, ‘Choc’ du Monde de la Musique, etc.), René Jacobs now turns his attention to Messiah, in the 1750 version with two alto soloists. Handel subjected the work to multiple revisions according to the solo singers he had available for his annual performances of it in London. However, this public acknowledgment of the work’s value came only some years after the oratorio’s triumphant premiere in Dublin on 13 April 1742: in order to win over London audiences Messiah had had to confront a cabal that was all the more unjustified in that Handel avoided all dramatisation of the person and Passion of Christ – the exact opposite of Saul, in a sense. But history has amply made up for lost time since then.

 

VOTED BY GRAMOPHONE MAGAZINE AS THE TOP RECORDING OF MESSIAH

 

 

Kerstin Avemo | Soprano

Patricia Bardon | Alto

Lawrence Zazzo | Countertenor

Kobie van Rensburg | Tenor

Neal Davies | Bass

 

The Choir of Clare College

 

Freiburger Barockorchester

René Jacobs | Director