The Dunedin Consort's Dublin version of Messiah was Linn's
fastest selling album of 2006 and was described in many
publications as the top choice Messiah for 2006. The
was given four stars by The Times, The Guardian and BBC Music
Magazine, chosen as 'Album of the Day' on AllMusic.com and
selected in The Scotsman's 'Top Ten classical music moments of
2006'.
This sought-after was also nominated in the 2007
Gramophone Awards.
What makes this Messiah so special is that it is the first
to seriously explore the version and performing forces
that Handel used for his legendary Dublin premiere. This unique
signifies an exciting and historically considered
representation of Messiah, which recaptures something of the
freshness of the first public performances.
"The freshest, most natural, revelatory and transparently joyful
Messiah I have heard for a very long time." Gramophone
Top Ten classical music moment of 2006: "If I had to make a
choice between s, my money would go on Dunedin's
Messiah." The Scotsman
"Youth, freshness, joy: these are the chief characteristics of
this new Messiah from the talented Dunedin Consort."
(four stars) The Times
"Butt has an authoritative bass in Matthew Brook, and a superb
contralto (one of three) in Clare Wilkinson." (four stars) The
Guardian
"The Dunedin artists are stylish, fresh sounding in their choral
singing and often more than other versions in their
manner of communication."
Performance (four stars) / Sound (four stars) BBC Music Magazine
"Here's a reconstruction of the premiere in Dublin - and it's
very welcome. Nothing but praise." Classic FM Magazine
Album of the Day: "One of the most compelling and engaging
Messiahs on disc." Allmusic.com
"In some ways the most interesting [new Messiah ] is the
Linn . The playing of the Dunedin Players under John
Butt is admirably crisp, and the singing of the Consort
disciplined and clear in enunciation." Sunday Telegraph
Review
------
From our Linn friends in Scotland comes an attractive new
of Handel's Messiah in the 1742 Dublin version,
performed by the Dunedin Consort and Players under director John
Butt. Why Dublin? One reason that comes to mind is that it was
the first place where Handel's masterpiece was a success. Hard as
it is to believe in view of the fact that Messiah is now a
universal classic (it was, in fact, the first classic, in terms
of being revived year after year, in the history of music), it
was a dismal failure in its early performances in London. The
change of scenery was just the tonic it needed. The lilting
quality of Handel's arias must have appealed strongly to the
Irish. In addition, Dublin was far enough away that Handel was
able to use one of his favorite singers, Susannah Cibber, who was
then box office poison in London due to an extramarital affair
that had dragged through the courts. In the Dublin version, he
gave her many of the recitatives and arias that we are accustomed
to hearing sung by other, particularly tenor, voices, including
the final aria "If God be for us." (In this , her part
is sung very capably by contralto Claire Wilkinson.) Always the
resourceful composer, Handel was adept at tailoring the vocal
parts to the singers at hand. One striking difference is the
soprano aria "Rejoice greatly, O Daughter of Sion," which sounds
quite different from the version we're used to hearing due to the
additional color and the bouncy spring rhythm Handel added to his
writing.(Here, the part is sung by Susan Hamilton, whose light
soprano is a pure pleasure whenever heard.) On the other hand,
the Dublin version of the bass aria "And I will shake all
nations" doesn't have the sensational trumpet-like intonazione
that we're accustomed to hearing, though in other respects the
part (sung here by Matthew Brook) follows the familiar lines.
Through historical research, the Dunedin Consort determined that
Handel had a small chorus available in Dublin, no more than three
or four voices to a part. Here the vocalists (who include,
besides those already mentioned, tenor Nicholas Mulroy and alto
Annie Gill) double as members of the ensemble. The big choruses
in Messiah ("Unto us a Child is born," "Worthy is the Lamb," and
of course, "Hallelujah!") are accordingly not the sonic
blockbusters we are used to hearing. On the other hand, the
Consort can sing in a more relaxed manner, so the choruses can be
smoother and less hurried. An additional plus is the excellent
diction of these singers (should that surprise us about the
Scots?). This is one time when you don't need to have the booklet
firmly in hand in order to understand an oratorio in English!
Special kudos for trumpet players Chris Dicken and Paul Sharp in
the splendid final chorus. In conclusion, this Messiah is
different, but with an undeniable charm that is hard to resist.
--Atlanta Audio Society Newsletter --Bloomberg.com
ALBUM OF THE DAY This of the Messiah by the Dunedin
Consort is based on a reconstruction of the original version
premiered in Dublin in 1742. The Dublin version is rarely
performed because the composer had simplified parts in deference
to the vocal limitations of some of the local soloists, because
it is not as complete as later versions of the score and because
revisions Handel made after the first performance have become
standard. This also seeks to duplicate the original
performing forces as authentically as possible by having the
soloists perform the choruses, as well, using a total of only 12
singers. The result is remarkably and refreshingly . In
spite of the modesty of scale, conductor John Butt leads a
reading that never sounds small or limited; the performers convey
the full extent of the work's wide emotional range. The size of
the chorus allows for an unusually light touch in the movements
requiring choral coloratura, and the Dunedin Consort responds
nimbly. The soloists are all of the highest quality, with
youthful-sounding voices more robust and less mannered than what
one generally associates with the English oratorio tradition.
Bass Matthew Brook's "But who may abide the Day of His Coming,"
is delivered with astonishing breath control and power. Nicholas
Mulroy's virile tenor gives "Comfort ye," a welcome solidity.
Contralto Clare Wilkinson sings "He shall feed His flock," with
breathtaking poignancy, as ly as a lullaby. Soprano Susan
Hamilton sings "I know that my Redeemer liveth," with stunning
simplicity and purity. Annie Gill's contralto is sweet and light
in "O thou that tellest good tidings to Zion." All the soloists
communicate with a naturalness and directness that create an
unusually intense sense of drama; despite having disciplined and
beautifully modulated voices, they sing as if they are telling a
personal and deeply felt story, in the tradition of the best folk
singers. The orchestra responds to Butt's leadership with a
lively and well-balanced performance. The SACD is clear
and present, and details emerge with the vivid characteristic of
chamber music. In every aspect, this is one of the most
compelling and engaging Messiahs on disc. --AllMusic.com
Recently released on Linn, Dunedin Consort's of the
1742 Dublin version of "Messiah" - Handel adjusted the allocation
of arias according to the performers - is one of the most
"Messiahs" available. The choruses are sung by only 12
singers, and though the "multitude of the heavenly host" sounds
like a madrigal group, it is fascinating to hear Handel's
textures so clearly. The orchestra, directed from the keyboard by
musicology maven John Butt, provides beautifully detailed
accompaniment, with some notably fine colours from the violas and
a very expressive "Pastoral Symphony" or "Pifa". Matthew Brook's
bass arias are also impressive. His is a name to watch.
--Bloomberg.com
