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SITE RATING: 5/10 SITE REVIEW:
The "highlights" Messiah offered by Conifer
Classics (an imprint of the now-defunct BMG Music label) and released
in 1992, has several points to recommend it: the soloists include
luminaries John Mark Ainsley (tenor) and Bryn Terfel (bass); the
orchestra and chorus, London Musici, are precise in their attacks and
tempos, and the sound (recorded in 1989) is very good. In fact, I
rather wish that this was a full "Messiah" rather than a simple
highlights disc, but, at 21 tracks and nearly 70 minutes in length, it
manages to gather most of the familiar solos and choruses onto one disc.
My problems with this performance are the tempos and dynamics, which tend to remain very cool and considered. For example, when the orchestra comes to the tempo change on the alto solo "But Who May Abide" it's a very quiet change, barely disturbing the calm waters of the verse when launching into what *should* be a tempestuous chorus. The same can be said of "And He Shall Purify" which glides along in a remote, detached manner, rather than engaging the listener with drama or passion. And this detachment is not restricted to the chorus and orchestra, but extends to the soloists as well: John Mark Ainsley sounds pristine, but self-absorbed; and even Bryn Terfel, who is famous for his passionate readings, sings as if he's on a tight leash. The contralto, Catherine Denley, has a voice that is rich and "fruity" and thus is at odds with the cool British flavor of the chorus and orchestra. The soprano, Patrizia Kwella, sounds a bit swallowed, but has a marvellously clear tone on the high notes. Strangely, the program drastically changes mood in the second half. "All We Like Sheep" and "He Trusted In God" are marvellous - brisk and energized, with lovely intonation - and "Why Do The Nations" allows Terfel to show off his impressive tessitura and vocal prowess. Similarly, "Let Us Break Their Bonds" is electrifying - as is a powerful, polished "Hallelujah". I wish more of these fiery moments had shown up in the first half of the program. All in all, a dry and somewhat flavorless recording, at least in the first half, with director Mark Stephenson restraining everyone a bit too much for their own good, but in the second half of the recording, a breath of fresh air blows in, and creates some memorable magic. ~ BDW |
