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VIDEO |

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| LABEL: |
KULTUR |
| CATALOG NUMBER: |
1327 |
| UPC NUMBER: |
N/A |
| NUMBER OF TAPES: |
1 |
| RUNNING
TIME: |
113 MIN. |
| YEAR RECORDED: |
1982 |
| RELEASE DATE: |
OCTOBER 23, 1992 |
| ASPECT
RATIO: |
1.33:1 |
| AUDIO: |
DOLBY
STEREO |
| REGION: |
NTSC |
| CONDUCTOR: |
ROGER NORRINGTON |
| ORCHESTRA: |
LONDON BAROQUE PLAYERS |
| CHOIR: |
CARDIFF POLYPHONIC
CHOIR |
| SOPRANO: |
NORMA BURROWES |
| ALTO: |
HELEN
WATTS |
| TENOR: |
ROBERT TEAR |
| BASS: |
WILLIARD WHITE |
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| VIDEO SAMPLES |
OTHER RELEASES |
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SITE RATING: 8/10
SITE REVIEW:
A pity that this performance has not been made
available on DVD, since it's easily one of the most polished,
professional Messiah's
on video. Added to that, Roger Norrington is not represented
on CD with any Messiah;
it's his expertise that drives this performance - and its worth
hearing. The London Baroque Players, using period
instruments, are generally superb, although the trumpeter makes several
embarrassing flubs during "The Trumpet Shall Sound", and the Cardiff
Polyphonic Choir, although
placed somewhat distantly in the mix, sing with equal finesse.
Also, the chance to see Williard White, who I had only seen
before in his celebrated turn in George Gershwin's opera Porgy
& Bess ,
is riveting. This captures him ten years earlier, and he
sings
(and sweats) up a storm. The other soloists are equally fine:
Norma
Burrowes is a clear, bright soprano, only occasionally going slightly
flat; Helen Watts is a lovely,
otherwordly presence in her alto solos, and tenor Robert Tear is fiery
and confident in his arias. The only true downside to this video is the
setting, which has the unfortunate look of being set on what looks like
a stage borrowed from Lawrence Welk's long-running television program,
with chandeliers, cherubic lamps, and a hideous color scheme that
features a powdery sky blue set clashing with the salmon pink of the
ladies'
choir dresses. (Note, the cover photograph is NOT from this performance
(?); the choir is much smaller, and the outfits are different!)
Why Kultur chooses to keep this performance in the vault is a
shame, since it's an overall fine performance, worthy of remastering
and
general release.
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