Composer: Georg Friedrich Handel
Works: Messiah
Performers: Lynne Dawson, Nicole Heaston, soprano; Magdalena Kožená, mezzo-soprano; Charlotte Hellekant, contralto; Brian Asawa, countertenor; John Mark Ainsley, tenor; Russell Smythe, baritone; Brian Bannatyne-Scott, bass; Chœur des Musiciens du Louvre; Les Musiciens du Louvre, Marc Minkowski
Recording: October 1997, Salle Debussy, Opera Bastille, Paris
Label: Archiv 471 341-2
Handel’s Messiah has long been a cornerstone of the choral repertoire, notable for its intricate interweaving of biblical texts and the composer’s unique Baroque sensibilities. This recording under Marc Minkowski, while ambitious, presents a curious juxtaposition of vibrant vocal performances against an orchestra that often lacks the requisite depth and brilliance traditionally associated with this enduring masterwork. Minkowski’s approach, influenced by his prior work in Handel’s operas, suggests a desire to illuminate the drama inherent in the work. However, the results are decidedly mixed.
The choral forces assembled, the Chœur des Musiciens du Louvre, are a standout feature. Their sound is both rich and resonant, filling the acoustic space with clarity and power. The opening Sinfony, however, reveals an unsettling disparity; the orchestral sound is at times flat and lacks the vibrant energy one expects from Handelian instrumentation. This contrast persists throughout the recording, posing challenges for listeners who may struggle to adjust the volume to accommodate the varying dynamics between the orchestra and choir. Such inconsistencies in sound engineering can detract from the overall listening experience, especially in a piece where juxtaposition is pivotal.
The selection and use of soloists warrant scrutiny as well. The decision to include a number of singers for only one aria raises questions about artistic intent versus marketing strategy. For instance, while Magdalena Kožená’s participation in a solitary aria showcases her commendable timbre, it may feel superfluous within the broader context. Similarly, Charlotte Hellekant’s performance of “He Was Despised” is marred by an over-reliance on vibrato that obscures clarity and emotional impact, a critical misstep in such an emotive work.
Conversely, soprano Nicole Heaston emerges as a beacon of excellence, her performance in “He Shall Feed His Flock” exemplifying lyrical purity and emotional resonance. Her restrained use of vibrato serves as a model for the other singers, allowing the music’s natural lines to shine through without embellishment. Tenor John Mark Ainsley also excels, delivering his arias with a richness of tone and expressive phrasing that captures the essence of Handel’s text. The synergy between Heaston and Ainsley in their duet is particularly engaging, highlighting the potential for dynamic interplay that is so essential in oratorio performance.
Despite its shortcomings, the final chorus “Worthy is the Lamb” bursts forth with infectious energy, a testament to the choir’s collective strength and Minkowski’s capable direction. However, this high point cannot entirely offset the recording’s inconsistencies. The strengths of the choral performance and standout soloists, particularly Heaston and Ainsley, are compelling, yet they coexist with orchestral deficiencies and interpretative choices that do not always serve the music.
This recording of Messiah offers moments of brilliance that are undeniably captivating, yet it is ultimately marred by technical shortcomings and interpretative decisions that do not fully honor Handel’s profound work. The powerful choral contributions juxtaposed with an orchestra that sometimes falters create an uneven landscape, leading to a performance that, while noteworthy, may not ascend to the pantheon of the finest recordings available.
