Rating: 
Summary: Marvelous performance, pity about the video quality
Review: An almost flawless performance is spoiled to a significant degree by the poor execution of the video. Granted filming in low-light conditions in a medieval church will be challenging but in this case the excessive graininess and lack of anamorphic enhancement create a serious detraction. Other video productions have used e.g. Kings' College and Westminster Abbey with far superior results. So a caveat to videophiles - the PQ is quite poor.On the hand, the performances are without exception first-rate. Particular standouts are Lynne Dawson, bass Alastair Miles and noted Handelian John Mark Ainsley. The trumpet virtuoso Crispian Steele-Perkins is in particularly fine form. I have been so disappointed with the video quality that I was tempted to purchase the DVD version by Marriner and the ASMF. But on realising that this is the same as the CD issued by Philips in 1992 of the Dublin performances, I have decided to save my money. Although Marriner and the Academy are sound as usual, this version is flawed by the second string multinational soloists.
Rating: 
Summary: Handel Messiah
Review: Berlin Philharmony Orchestra
Swedish Radio Choir
Eric Ericson Chamber Choir
Rating:
Summary: Reference Quality DVD
Review: Handel's "Messiah" is given the treatment it deserves on this superb DVD. Uniformly excellent performances by King's College Choir, the Brandenburg Consort and soloists are complemented by a stunning 5.1 soundtrack and beautifully rendered video. This is a reference quality DVD. Highly recommended.
Rating:
Summary: CORRECTION SUGGESTED / SPLENDID RECORDING
Review: I just wanted to note that the version presented on this DVD is from 1752 and not 1852 as noted in the Amazon Review. Certainly just an overlooked typo... And a funny one, especially given that Handel died in 1759. The performance in question is nothing short of sublime. Simply exquisite in all respects and a must-have for all lovers of this stirring work as well as those just curious.
Rating:
Summary: CORRECTION SUGGESTED / SPLENDID RECORDING
Review: I just wanted to note that the version presented on this DVD is from 1752 and not 1852 as noted in the Amazon Review. Certainly just an overlooked typo... And a funny one, especially given that Handel died in 1759. The performance in question is nothing short of sublime. Simply exquisite in all respects and a must-have for all lovers of this stirring work as well as those just curious.
Rating:
Summary: Hallelujah Handel!
Review: If you love the music of Handel then buy this disc. You won't regret it. The performance by the Brandenburg Consort, the Kings College [all male] choir and the four soloists is superb. The video production is tasteful and elegant, shot in 1993 on what appears to have been early HDTV. The picture quality is beautiful, and it is letterboxed -- sadly not 16:9 enhanced, but the picture is so sharp that it easily stands up to zooming to full widescreen. It is just about the best music DVD I have seen -- or heard! Sound is 5.1 Dolby.
Rating:
Summary: "And the glory of the Lord"
Review: It's hard to imagine a better recording, given that this performance was recorded "live", in front of an audience! The soloists make ample use of vocal ornamentation. The tempo is upbeat. The period instruments are well played, and the trumpeter, Crispian Steele-Perkins deserves a gold medal! The only negative from my perspective is that portions of the sound show obvious signs of compression, not unusual for a European production, but distracting (mildly) to me nonetheless. It should be noted that this recording was not made in the King's College Chapel in Cambridge, but rather in the Pieterskerk, Leiden, Holland.
Rating:
Summary: "And the glory of the Lord"
Review: No one would go wrong getting this DVD. And not just because the other one available on DVD is apparently poor (and Mozart's arrangement). Someone will have to go some to beat this one. My first recording of Messiah was the spritely Davis/Philips of many years back. I was imprinted by it, and it had remained my favorite. Of course, the DVD has the huge advantage of video, but even soundwise I think it has the edge (except for the boy choir -- not my fave). A Messiah is continuously a joy for me, but there are many jewels in addition. The centerpiece is usually considered the chorus "Hallelujah", but, as a trumpet player, I have to put "The Trumpet Shall Sound" in the spotlight also. This splendid piece (for bass and trumpet -- the only such I know of) is longish but thrilling. The trumpeter is Crispian Steele-Perkins, a world class Baroque trumpet player with impeccable technique. (He lost his hyphen and his final Steele "e" on the case notes.) He plays a natural trumpet (can't tell if it's a replica, but looks original) in D, with at least three tuning holes. These are closed by fingers of the right hand until some problem note needs one to be opened. A fair amount of this action is well caught by the camera. This was of considerable interest to me, and I've never seen it so clearly before. The bass, Alastair Miles, is outstanding, and the total effect is exceptional. The vocal soloists are excellent. My ranking would put the bass and soprano (Lynne Dawson) on top, with the tenor (John Mark Ainsley) down a notch and the alto (Hillary Summers) half a head below that. I was most struck by Ms. Dawson. There's always somebody who doesn't get the word, and here that somebody is apparently I. I don't remember seeing her or hearing of her before, but she has been around for a while (born 1956) and has been performing and recording all over the world to rave reviews for years. I probably have recordings she's in and didn't notice. For a microsecond my reaction on seeing her was that she was a movie star lip synching (in an oratorio? Get real!). She looks that good. Needs to be in front of the camera more. And super, super singing. She has that light, fast vibrato, which I like. (Think Jane Powell.) I found Ms. Summers' histrionics distracting, like a silent film star, and her voice was a little covered, but still good. Maybe the review gods will forgive me if I observe that her nostrils are prominent and look like little surgically sculpted angel's wings. Unique. Mr. Cleobury directed well. His tempi were nicely up (like Davis's). When he wasn't needed (as in parts of "Trumpet Shall Sound") he would just stand there, not wave his arms slavishly. The orchestra seemed to have good control of its period instruments. This is not always the case in such performances. (I had to reflect on how horrible a barge of 110 Baroque oboes would be!) I am not a fan of boys' choirs, which I don't think were what Handel and Bach heard in their heads when composing, but were an artifact of the churches' ban on females in their choirs (a peculiar proscription which still hangs on in the Catholic priesthood). Nevertheless, I've never heard one do better. It was not distracting. The camera work was pretty good. I would prefer more orchestra and less choir, and the things to watch on the trumpet are his right hand and embrochure, not the bell of the horn or the left grip on the bell ball. The singers were never seen at full height except at a distance. The trumpets were never shown until Part III, even though they first played in Part I. If I have a criticism, it's the sound balance. Certainly this is a difficult venue -- brick and mortar and stone -- and this was well handled. But the choir overwhelmed the orchestra, and the strings overwhelmed the winds, even the trumpets. When composers use trumpets, they're not kidding, yet you can barely hear them mostly. A good example of how to balance trumpets in oratorios is in the Richter "Christmas Oratorio" (Bach) with André, Gediga, and Oppermann. (An unsurpassed recording of this.) I don't think I ever heard an oboe, at least not while they were featured on camera. I felt the surround channels were used too aggressively in the Dolby 5.1 mix. Kind of ambience with a vengeance, every echo from every brick. Lastly, the DVD has no special features. No history of the piece, nothing on the venue, the period instruments, biographies, performing edition comments, interviews, nothing. A missed opportunity. But, still 5 stars.
Rating:
Summary: Tops!
Review: No one would go wrong getting this DVD. And not just because the other one available on DVD is apparently poor (and Mozart's arrangement). Someone will have to go some to beat this one. My first recording of Messiah was the spritely Davis/Philips of many years back. I was imprinted by it, and it had remained my favorite. Of course, the DVD has the huge advantage of video, but even soundwise I think it has the edge (except for the boy choir -- not my fave). A Messiah is continuously a joy for me, but there are many jewels in addition. The centerpiece is usually considered the chorus "Hallelujah", but, as a trumpet player, I have to put "The Trumpet Shall Sound" in the spotlight also. This splendid piece (for bass and trumpet -- the only such I know of) is longish but thrilling. The trumpeter is Crispian Steele-Perkins, a world class Baroque trumpet player with impeccable technique. (He lost his hyphen and his final Steele "e" on the case notes.) He plays a natural trumpet (can't tell if it's a replica, but looks original) in D, with at least three tuning holes. These are closed by fingers of the right hand until some problem note needs one to be opened. A fair amount of this action is well caught by the camera. This was of considerable interest to me, and I've never seen it so clearly before. The bass, Alastair Miles, is outstanding, and the total effect is exceptional. The vocal soloists are excellent. My ranking would put the bass and soprano (Lynne Dawson) on top, with the tenor (John Mark Ainsley) down a notch and the alto (Hillary Summers) half a head below that. I was most struck by Ms. Dawson. There's always somebody who doesn't get the word, and here that somebody is apparently I. I don't remember seeing her or hearing of her before, but she has been around for a while (born 1956) and has been performing and recording all over the world to rave reviews for years. I probably have recordings she's in and didn't notice. For a microsecond my reaction on seeing her was that she was a movie star lip synching (in an oratorio? Get real!). She looks that good. Needs to be in front of the camera more. And super, super singing. She has that light, fast vibrato, which I like. (Think Jane Powell.) I found Ms. Summers' histrionics distracting, like a silent film star, and her voice was a little covered, but still good. Maybe the review gods will forgive me if I observe that her nostrils are prominent and look like little surgically sculpted angel's wings. Unique. Mr. Cleobury directed well. His tempi were nicely up (like Davis's). When he wasn't needed (as in parts of "Trumpet Shall Sound") he would just stand there, not wave his arms slavishly. The orchestra seemed to have good control of its period instruments. This is not always the case in such performances. (I had to reflect on how horrible a barge of 110 Baroque oboes would be!) I am not a fan of boys' choirs, which I don't think were what Handel and Bach heard in their heads when composing, but were an artifact of the churches' ban on females in their choirs (a peculiar proscription which still hangs on in the Catholic priesthood). Nevertheless, I've never heard one do better. It was not distracting. The camera work was pretty good. I would prefer more orchestra and less choir, and the things to watch on the trumpet are his right hand and embrochure, not the bell of the horn or the left grip on the bell ball. The singers were never seen at full height except at a distance. The trumpets were never shown until Part III, even though they first played in Part I. If I have a criticism, it's the sound balance. Certainly this is a difficult venue -- brick and mortar and stone -- and this was well handled. But the choir overwhelmed the orchestra, and the strings overwhelmed the winds, even the trumpets. When composers use trumpets, they're not kidding, yet you can barely hear them mostly. A good example of how to balance trumpets in oratorios is in the Richter "Christmas Oratorio" (Bach) with André, Gediga, and Oppermann. (An unsurpassed recording of this.) I don't think I ever heard an oboe, at least not while they were featured on camera. I felt the surround channels were used too aggressively in the Dolby 5.1 mix. Kind of ambience with a vengeance, every echo from every brick. Lastly, the DVD has no special features. No history of the piece, nothing on the venue, the period instruments, biographies, performing edition comments, interviews, nothing. A missed opportunity. But, still 5 stars.
Rating:
Summary: "For the Lord God omnipotent reigneth"
Review: The best performance currently available on VHS or DVD. Stephen Cleobury conducts an early music ensemble with a small orchestra and a choir of men and boys. This version is SATB (as opposed to SSATB). The soloists are very good, the bass is a profundo, and the alto is deep and rich, and the tenor and soprano handle the ornaments with great facility. The tenor's voice seems to have a baritonal quality to it. The soloists are also very telegenic, especially the tenor and soprano. This performance has been broadcast on PBS several times, so it may be familiar at first viewing. And of course the boy singers are beyond cute. The only visual recording that can compete with it is the one by Christopher Hogwood, but that hasn't been available in any format for some years.
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