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There are many excellent readings of Messiah on the market, and any new addition must offer a fresh interpretation of the ever-popular oratorio.
This release from Naxos boasts a splendidly musical performance from rising countertenor Iestyn Davies, which is the best thing in a Messiah that falls just short of being essential.
Edward Higginbottom's brief programme note proudly claims that the CD "provides the only modern account of Handel's unique London performances in April and May 1751" – in other words, it uses trebles instead of sopranos.
The three boys – Henry Jenkinson, Otta Jones and Robert Brooks – sing with technical finesse throughout, and their solos are poised and eloquent. Meanwhile, the period band – the Academy of Ancient Music – sails through Handel's writing with no problems, and conductor Higginbottom’s tempi and phrasing are perfectly judged.
Most interesting is the sonorous balance created between voices and orchestra. Occasionally I was concerned by this balance – bass Eamonn Dougan seems to be drowned out by both solo trumpet and violins in his aria in Part Three, while the choir’s tone can be lost beneath weighty timpani and brass in the great choruses. However, it is hard to resist being swept along by such rousing playing.
The choir is a well trained unit, with richly-coloured, characterful voices in all registers. It seems picky to criticise the trebles for being shrill, but on occasion they could tone down their sound to greater effect. Melodic decoration is coped with well, and the group manage to sound exciting even in Higginbottom's unusually fast All we like sheep, which is little short of a miracle.
Soloists are a mixed bag. Iestyn Davies's countertenor is focused, expressive and firmly controlled, and he phrases with great beauty throughout. A couple of artificial decorative fragments do not detract in the slightest. Sadly, Toby Spence and Eamonn Dougan try their hardest without ever making an impression. Spence's tenor is a tad too baritonal for this role, and while a poised Comfort ye promises a refined performance, Spence blusters his way through his arias and struggles up above. Dougan's coloratura is precise but he seems lightweight and takes too long to warm his rather craggy voice.
However, this is still an excellent recording. Momentum is sustained through the three Parts, and the culminating Amen is brushed off with a refreshing delicacy. The CD is also most pleasingly mastered, with a resonant bloom in the sound. The arrogant solo trumpet of David Blackadder in Part Three especially is captured in all its shuddering glory.
And while page 13 of the CD booklet needs to be proofread, the positives of this Messiah most certainly outweigh the negatives. Perhaps not a first choice, but it should be high up the list nevertheless.
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