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Fine recordings of George Frideric Handel's Messiah abound, but this production by the exquisite American Bach Soloists ("ABS") is extra-special on at least two counts. First, it is an audiophile's dream; recorded live at the Mondavi Center for the Performing Arts on the University of California (Davis) campus, the sound quality is flawless. Second, conductor Jeffrey Thomas presents Handel's autograph score (version of 1741) here; in other words, this is Handel's vision of the Messiah before the first performance in Dublin, before Handel began tinkering with the score to accommodate the practical realities of performance in various venues. Thus, the autograph version is quite rarely recorded, making this ABS release a "must have" moment for Messiah maniacs.

Fans of fine choral music already know that ABS is renowned for its astute musicality and superb technical skills. Accompanied by period instruments, the choir presents the Messiah with vibrant immediacy. Everything fits with great precision and polish. The universally-acclaimed Hallelujah Chorus is naturally a highlight, and the lovely layers of sound transported me to a magical place.

Not surprisingly, this release includes extensive liner notes packed with helped information. The libretto is adapted from the printed word-book for the first London performances in 1743 and interestingly contain Handel's own designations of part headings, scenes, and movement headings.

If you are fond of Handel's Messiah, and even if you already possess several versions of this seminal work, this ABS presentation is well worth your consideration. It is George Frideric Handel's original creation, and ABS sells it with professionalism that excels on all levels. Hallelujah for the holidays!

--Carol Swanson
(Reviewed in 2007)

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From the liner notes:

Messiah
Autograph Score, Version of 1741
Recorded live
Performed on period instruments

Jeffrey Thomas, Conductor
Arianna Zukerman
Daniel Taylor
Steven Tharp
William Sharp

Jeffrey Thomas describes recording Messiah live:

I have always subscribed to the idea that a "live" recording of any work should be released only if its artistic standards can be compared favorably to a studio recorded version, and if the particular circumstances of the performance(s) merit special attention. In the autumn of 2002, the Robert and Margrit Mondavi Center for the Performing Arts opened on the campus of the University of California at Davis. It is a stunning facility, and ranks among the finest performing arts facilities in the world. The main performance space, Barbara K. and W. Turrentine Jackson Hall, is an 1,800-seat concert venue with acoustics that are a dream come true for both performers and audience members alike. Two consecutive performances there in December 2004 provided us with an extremely valuable opportunity to produce a live recording. One can certainly assume that there are indeed many recordings of Messiah available, so what will be especially distinctive about our reading and recording of it here?

...It is the so-called autograph score version of 1741 that has remained practically unheard and that we have performed and recorded here. When Handel took his score to Dublin and began the rehearsal process, changes would be made even before the premiere. This is a fairly common practice when producing the first performance of an opera or a play: a composer's wishes are often subjected to the stark realization that the practical considerations of a performance--available forces, abilities of the performers, etc.--might demand alterations. This was certainly the case for Handel, who was already a very experienced opera composer, and probably quite used to this process of last minute revisions. But what interests us the most, given our opportunity to choose a particular version, is the truly original concept of the work, before any revisions, alterations, or concessions to the initial performance environment.


From the Website:

This audiophile recording was made in the state-of-the-art Robert and Margrit Mondavi Center for the Performing Arts on the campus of UC Davis.

Named "the best American specialists in early music" by The Washington Post, the American Bach Soloists ("ABS") were founded in 1989 with the mission of introducing contemporary audiences to the cantatas of Johann Sebastian Bach through historically informed performances. Under the leadership of Co-founder and Music Director Jeffrey Thomas, the ensemble has achieved its vision of assembling the world's finest vocalists and period-instrument performers to bring this brilliant music to life.

American Bach Soloists

Messiah

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