Borne

borne

Track Listings

1. Chelsea

2. James Dean

3. Forgive Me

4. Body Talk

5. It's Not Enough

6. Useless

7. Crazy World

8. Under My Skin

9. Save Me

10. Simple Love

11. Crazy World (Orchestral Version)

Editorial Reviews
About the Artist
With a fresh, self-titled album, BORNE is subtlely seducing southern California with its uniquely memorable pop/rock sound. Lead singer Michael Mewborne demonstrates more of his substantive vocal ability in this second release from indie label SEP Records.

BORNE has been busy this summer reinforcing their solid adult contemporary album. They've opened for Los Lobos, The Smithereens, Shawn Mullins and Brian VanDerark of the Verve Pipe. San Diego television recently aired a 30 minute special on them. Live and studio cuts have been spun on London radio as well as various indie stations throughout the U.S. Their growing internet presence is also impressive. You can hear them on Yahoo's Music Engine, iTunes and CD Baby as well as their own site.

Product Description
With a fresh, self-titled album, BORNE is subtlely seducing southern California with its uniquely memorable pop/rock sound. Lead singer Michael Mewborne demonstrates more of his substantive vocal ability in this second release from indie label SEP Records. BORNE has been busy this summer reinforcing their solid adult contemporary album. They've opened for Los Lobos, The Smithereens, Shawn Mullins and Brian VanDerark of the Verve Pipe. San Diego television recently aired a 30 minute special on them. Live and studio cuts have been spun on London radio as well as various indie stations throughout the U.S. Their growing internet presence is also impressive. You can hear them on Yahoo's Music Engine, iTunes and CD Baby as well as their own site.

Borne,Borne,SEP Records,Pop,Rock,Rock/Pop

Borne

Average customer rating:

Smooth as silk
Big Fan of Sylvian
Great Sylvian
a little flux, a little mutability
did anyone notice ?

Snow Borne Sorrow
Nine Horses
Manufacturer: Samadhi Sound
ProductGroup: Music
Binding: Audio CD

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Money for All
World Citizen
Blemish
The Good Son vs. The Only Daughter: Blemish Remixes
Secrets of the Beehive

ASIN: B000B8GUGO
Release Date: 2005-10-25

Tracks:

Wonderful World
Darkest Birds
The Banality of Evil
Atom and Cell
A History of Holes
Snow Borne Sorrow
The Day the Earth Stole Heaven
Serotonin
The Librarian

Amazon.com

Snow Borne Sorrow is released under the name Nine Horses, but make no mistake--this is a David Sylvian CD, his best in two decades. After the dislocated dissonance of Blemish, Sylvian returns to songs and melody, recalling the jazz and ambient inflected work of earlier CDs like Product Description

Probably the most commercial release that David Sylvian has ever been involved with, Nine Horses still manages to sound unlike any other album out there at the moment. Breaking boundaries, fusing styles and yet delivering beautiful pop melodies and stunning vocals on songs that Sylvian fans everywhere are bound to fall in love with. Nine Horses brings together Sylvian, his brother Steve Jansen (ex-Japan), and the well respected Burnt Friedman and they have created a suite of remarkably poignant songs that are part social commentary and part self-analysis. Sylvian and his collaborators have never sounded better nor the material more immediate. Other guest contributors include: Ryuichi Sakamoto, Stina Nordenstam, Arve Henriksen and many more. Samadhi Sound. 2005.

Album Description

Album Details

Probably the Most Commercial Release that David Sylvian Has Ever Been Involved With, Nine Horses Still Manages to Sound Unlike Any Other Album Out There at the Moment. Breaking Boundaries, Fusing Styles and Yet Delivering Beautiful Pop Melodies and Stunning Vocals on Songs that Sylvian Fans Everywhere Are Bound to Fall in Love With. Nine Horses Brings Together Sylvian, his Brother Steve Jansen (Ex-japan) and the Well Respected Burnt Friedman. The Trio have Created a Suite of Remarkably Poignant Songs that Are Part Social Commentary and Part Self-analysis. Sylvian and his Collaborators have Never Sounded Better Nor the Material More Immediate. Other Guest Contributors Include: Ryuichi Sakamoto, Stina Nordenstam, Arve Henriksen and Many More. This Album's Sound is Expanded, Maximalist, Full, Rooted in Traditional Song Structures Like Some of Sylvian's Classic Solo Albums Like "Brilliant Trees", "Secrets of the Beehive" and "Dead Bees on a Cake".

Customer Reviews:

Smooth as silk.......2007-03-16

This music is smooth as silk, and often is gorgeously anchored by the sinewy bass lines of Keith Lowe (no pun intended).

Big Fan of Sylvian.......2007-01-03

I've been a big fan of Sylvian ever since Dead Bees on a Cake and this album doesn't disappoint at all. Only problem is waiting as long as we do between albums for the next! This album clearly is better than the last, however, which had some seemingly experimental songs that didn't quite work for me. LOVE this one, though and can't wait for his next.

Great Sylvian.......2006-12-09

This is the best Sylvian since Secrets. It's penetrating, powerful and beautiful. Even a little humor.

You like Sylvian? Buy this.

a little flux, a little mutability.......2006-10-28

In many ways, Snow Borne Sorrow felt like a surprise. "Blemish" while very experimental, began to feel like a boldly decided direction; abandoning the lush, Scott Walker-esque melancholoy of his 80s solo work in favor of cold, white noise and electronic sound scapes. But then here came Snow Borne Sorrow. I'm not sure what other people are hearing, but these songs are definitely very well structured, well written, impecibly produced, with lyrics on par with Leonard Cohen (well, almost). Yes, it's an undeniably admirable record. Then why do I, a diehard fan of Sylvian for more than 20 years, find myself advancing through most of the songs on this record?

My immediate answer is that the songs are just too, too long and laden with meaning and heavyness. Not that Sylvian's stuff has ever been light fluff, take "Before the Bullfight" as an example. But missing here are the rich arrangements like Sakamato's contribution to "Beehive" or Fripp's huge guitar work on "...Bullfight" that lift the heavyness of the lyric or vocal styling into something warmer. The songs don't tend to move that much on Snow Borne Sorrow. They find a pattern and they stick with it for a long time. They feel as if they written on loops. Also, his voice, which I am utterly devoted to, is mixed entirely too high and never gives the music a chance to take center-stage.

What I find most redeeming about SBS are the lyrics. The wit and depth of image are superior to anything he's written before. Lyrically, it's the picture of an artist working at the peak of his abilities. On Seratonin, bed sheets become "mountain ranges at my feet." Harmony is new for Sylvian but it comes off strangely yet masterfully on the chorus of "Atom and Cell." But once again, not one song jumps out at me on this record and makes me say THIS is a phenomenal and perfect Sylvian song, the way "Talheim" or "Fire in the Forest" does.

Finally, it's worth it for any fan to pursue and ponder. As for anyone else, I'm not so sure.

did anyone notice ?.......2006-10-14

for all the sylvian fans who reviewed: did anyone notice that on "a history of holes" that david sylvian wrote one of his best lyrics? the beats and the rhythm drop out temporarily and david sings: when i was a boy/and i made mistakes/i was humiliated/till i knew my place. snow borne sorrow is a very good album. it may require one to listen to it a few times and to remember that david has an adventurous spirit. there is a feeling of completeness when listening to a recording artist who shares with you what you want AND need.

Handel - Messiah / Augér, von Otter, Chance, Crook, Tomlinson, English Concert, Pinnock

Average customer rating:

Ladies & gentleman: The Lord'n Savior, God Almighty
So Fashionable, and So Disappointing
A nice combination of period nad tradiitonal
Wait! Before you buy...
La mas bella y fidedigna interpretacion que se pueda obtener

Handel - Messiah / Augér, von Otter, Chance, Crook, Tomlinson, English Concert, Pinnock
George Frideric Handel , Arleen Auger , Anne Sofie von Otter , Trevor Pinnock , The English Concert & Choir , Michael Chance , Howard Crook , and John Tomlinson
Manufacturer: Archiv Produktion
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Binding: Audio CD

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Handel - Messiah / Ameling · A. Reynolds · Langridge · Howell · Marriner
Beethoven: Symphony No 9 /ORR * Gardiner
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ASIN: B0000057DB
Release Date: 1990-10-25

Tracks:

Messiah: Part One - 1. Sinfony (Grave - Allegro moderato)
Messiah: Part One - 2. Accompagnato : Comfort Ye My People
Messiah: Part One - 3. Air : Ev'ry Valley Shall Be Exalted
Messiah: Part One - 4. Chorus : And The Glory Of The Lord Shall Be Revealed
Messiah: Part One - 5. Accompagnato : Thus Saith The Lord Of Hosts
Messiah: Part One - 6. Air : But Who May Abide The Day Of His Coming
Messiah: Part One - 7. Chorus : And He Shall Purify
Messiah: Part One - 8. Recitative : Behold, A Virgin Shall Conceive
Messiah: Part One - 9. Air and Chorus : O Thou That Tellest Good Tidings
Messiah: Part One - 10. Accompagnato : For Behold, Darkness Shall Cover
Messiah: Part One - 11. Air : The People That Walked In Darkness
Messiah: Part One - 12. Chorus : For Unto Us A Child Is Born
Messiah: Part One - 13. Pifa (Pastoral Symphony)
Messiah: Part One - 14. Recitative: There Were Shepherds Abiding In The Field - Accompagnato: And Lo, The Angel Of The Lord - 15. Recitative: And The Angel Said Unto Them - 16. Accompagnato: And Suddenly There Was With The Angel
Messiah: Part One - 17. Chorus : Glory To God In The Highest
Messiah: Part One - 18. Air : Rejoice Greatly, O Daughter Of Zion
Messiah: Part One - 19. Recitative : Then Shall The Eyes Of The Blind
Messiah: Part One - 20. Air : He Shall Feed His Flock
Messiah: Part One - 21. Chorus : His Yoke Is Easy, His Burthen Is Light
Messiah: Part Two - 22. Chorus : Behold The Lamb Of God
Messiah: Part Two - Air : 23. He Was Despised

Tracks:

Messiah: Part Two - 24. Chorus : Surely He Hath Borne Our Griefs
Messiah: Part Two - 25. Chorus : And With His Stripes We Are Healed
Messiah: Part Two - 26. Chorus : All We Like Sheep Have Gone Astray
Messiah: Part Two - 27. Accompagnato : All They That See Him
Messiah: Part Two - 28. Chorus : He Trusted In God
Messiah: Part Two - 29. Accompagnato : Thy Rebuke Hath Broken His Heart
Messiah: Part Two - 30. Arioso : Behold, And See If There Be Any Sorrow
Messiah: Part Two - 31. Accompagnato : He Was Cut Off Out Of The Land
Messiah: Part Two - 32. Air : But Thou Didst Not Leave His Soul
Messiah: Part Two - 33. Chorus : Lift Up Your Heads, O Ye Gates
Messiah: Part Two - 34. Recitative : Unto Which Of The Angels
Messiah: Part Two - 35. Chorus : Let All The Angels Of God Worship Him
Messiah: Part Two - 36. Air : Thou Art Gone Up On High
Messiah: Part Two - 37. Chorus : The Lord Gave The Word
Messiah: Part Two - 38. Air : How Beautiful Are The Feet
Messiah: Part Two - 39. Chorus : Their Sound Is Gone Out
Messiah: Part Two - 40. Air : Why Do The Nations So Furiously Rage
Messiah: Part Two - 41. Chorus : Let Us Break Their Bonds Asunder
Messiah: Part Two - 42. Recitative : He That Dwelleth In Heaven
Messiah: Part Two - 43. Air : Thou Shalt Break Them
Messiah: Part Two - 44. Chorus : Hallelujah
Messiah: Part Three - 45. Air : I Know That My Redeemer Liveth
Messiah: Part Three - 46. Chorus : Since By Man Came Death
Messiah: Part Three - 47. Recitative : Behold, I Tell You A Mystery
Messiah: Part Three - 48. Air : The Trumpet Shall Sound
Messiah: Part Three - 49. Recitative : Then Shall Be Brought To Pass
Messiah: Part Three - 50. Duet : O Death, Where Is Thy Sting?
Messiah: Part Three - 51. Chorus : But Thanks Be To God
Messiah: Part Three - 52. Air : If God Be For Us
Messiah: Part Three - 53. Chorus : Worthy Is The Lamb That Was Slain --- Amen

Amazon.com essential recording

This is a terrific performance of Messiah. Not only are the soloists all superb, but Trevor Pinnock completely contradicts the image of many period instrument performances as small-scale, scrappy affairs. Indeed, he invests the choruses with as much genuine Handelian pomp as Beecham at his most extravagant. The trumpets really blaze, and the timpani thunder, and everyone simply has a great time. A joyous performance, just right for the holiday season. --David Hurwitz

Amazon.com

Trevor Pinnock meets with mixed success in this account of the Messiah with the English Concert & Choir and soloists Arleen Auger, Anne Sofie von Otter, Michael Chance, Howard Crook, and John Tomlinson, recorded and released in 1988. Its strengths are the strengths of the early-music movement in general. The size and distribution of the instrumental and vocal forces are optimal, which means that textures are clear and balances apt. Rhythms are nicely pointed, though often, in Pinnock's case, not quite well enough sprung. Tempos are well chosen; for example, "All we like sheep"--which turns out to be one of the set's best numbers--is a real bourré, and Pinnock animates it in just the right way. But the performance often seems workmanlike and unemotional, weighed down in too many instances by the humdrum work of the chorus. The alto section in particular, which is half male and half female, sings timidly and is constantly swallowing its entrances. Bass soloist John Tomlinson is a further drag on the effort. He has the right idea--that there's an Italian opera hiding behind all this biblical imagery--but his cottony sound is out of place, a misguided attempt to mimic Nicolai Ghiaurov. His usable range is less than a tenth (he croaks the low G's and F-sharps), and his diction is horrible. "Thus spake the Lord" is strangled, and when, in "The trumpet shall sound" Tomlinson gets to the words "we shall be changed," one can't help wishing that he had been changed too, right before the sessions started. --Ted Libbey

Customer Reviews:

Ladies & gentleman: The Lord'n Savior, God Almighty.......2007-06-13

Handel's Messiah is my favorite piece of classical music. Of the two versions that I had I only have left this one, and it is not the best (the other had been a cheap recording whose author's name I forgot too). This version seems to lack a little enthusiasm from the voices; too melancholic. Anyway, this is the first review of any music that I write, and probably will be the last too, so I just want to leave my impression of how I feel when I hear these solemn and heavenly sounds. One feels so raised to the heavenlies... I can almost sense the presence of the Lord Almighty up yonder among the clouds, and me being carried in solemnity to meet Him. Far away are the buzzing sounds of earthly chores. The air is fresh and clean as we are raised above the valleys, and we come to meet God's elected amid the singing, stronger and stronger. Jubilant, bathed in the glorious rays of the Savior's Light, we come together and sing: Glory to God, glory to God, praise and glory for He is coming...

So Fashionable, and So Disappointing.......2007-02-01

This would be a great 21st Century Reader's Digest version of Messiah, if such a thing existed any more. Handel did as much as he could, but really, the performers still have to do something besides posture, which, by the way, seems to me to characterize many performances these days. Fashionable, but musically deficient.

Specifically: John Tomlinson sings like he thinks he IS God, instead of singing about Him. Heavy, cumbersome, and overblown. May I add boorish?

Arleen Auger has a very sweet voice. And??

Despite the program notes insisting that certain segments of this Messiah are given to "the contralto", Anne Sofie von Otter is NOT a contralto. Not even close.

The male alto can barely sustain a legato line - why he insists upon throwing in those complicated, badly-performed embellishments I can't figure. Well, I can, but I'd really rather not say.

Wake up, choristers!! It's 'For Unto Us A Child Is Born," not "Oy, I have to go to the grocery store today."

Boy do I regret having spent almost $40 on this one. Thank goodness I have the Colin Davis to console me.

A nice combination of period nad tradiitonal.......2006-12-17

This 1988 recording sits between the euqally English, euqally period-ifnluenced Hogwood and Garidner. Of the three, Hogwood sounds more 'authentic' because it uses boys in the chorus and singers schooled period practice. By comparison, Pinnock's soprano, Arleen Auger, and mozeeo, Von Otter, are essentially modern singers--gorgeous ones, of course, Gardiner is far more anemic in his conducting and uses a scrwny-sounding orchestra, so if that's more authentic, so be it. Of the three, Pinnock gives us more traditional music values in his emotional expression and instrumental timbres.

The competiiton is mushc stiffer now than in 1988, but Pinnock's reading has survived the test of time. He is not a genuinely inspired conductor--sadly, Messiah has become a cottage industry that excludes most big-name talents--but neither are Gardiner and Hogwood. (For sheer musicality, I tend to put my money on Andrew Parrott, Robert King, Marc Minkowski, Niklaus Harnoncourt, and Rene Jacobs.) But he's certainly good eough. The reason I haven't given five stars is that the male soloists aren't first-rate, and in particular the Wotan voice of John Tomlinson sounds cavernous in the bass arias. Add to that Pinnock's tendency toward tepidness, and what you end up with is a very good but not great performance.

Wait! Before you buy..........2006-05-28

... This Messiah has recently been re-released at a much cheaper price. Go back and look for the DG "The Originals" release, which is being sold new for under $12.

La mas bella y fidedigna interpretacion que se pueda obtener.......2004-12-29

Soy uno de los mas fanaticos seguidores de Handel y de su obra El Mesias... He escuchado muchas versiones de esta genial e impresionante obra del maestro Handel y, sencillamente no me queda mas que recomendar esta interpretacion, bajo la batuta del maestro Trevor Pinnock. Se nota la exigencia con que esta version se interpreto, dentro el contexto del arte barroco y la magnificencia de la pronunciacion del ingles de la epoca. La orquesta se luce impresionantemente desde la obertura... y le da a cada movimiento, toda aquella fuerza y a la vez delicadeza requerida en el sentimiento que aplica en cada uno de los textos biblicos escogidos por el guionista Jennens. El Coro del English Concert es arrebatador y demuestra maestria en la interpretacion de cada una de las arias que le corresponde. La soprano Arleen Auger, la puedo definir como un angel cantando y resulta ser una caricia a los oidos, a la vez que es capaz de arrancarle a uno las lagrimas por lo excelso de su magia interpretativa. El tenor Crook, aunque no es un tenor con tesitura para canto barroco, es realmente habil y agil al momento de interpretar los melismas caracteristicos de este brillante periodo musical. El contratenor Michael Chance, es fenomenal y quiera Dios que yo tenga el honor de conocer a este genio del canto: "But who may abide..." interpretado por Chance en esta version, es como para caer en extasis. La contralto Anne Sophie von Otter..., tiene una voz oscura y redondeada..., tambien resulta una caricia a los oidos y su "If God be for us..." es desbordante, capaz tambien de hacerle a uno derramar lagrimas por su belleza interpretativa. El bajo Tomlinson..., es barbaro!!! (Soy bajo-baritono en el Coro de la Orquesta Sinfonica Nacional de Costa Rica...) A pesar de su voz tan oscura, es tremendamente agil cuando le toca cantar los melismas y es genial al alcanzar la tonalidad brillante en las partes de notas altas y agudas...; por ejemplo: "The people that walked in darkness..." y "Why do the nations..." Tengo seis años de experiencia, interpretando musica coral y tengo que decir que espere esos seis años, desde 1999, para felizmente cantar esta obra "El Mesias". Ha sido fantastico finalmente lograr este objetivo..., la espera valio la pena y debo admitir que mi inspiracion ha sido sin duda alguna, la version que puede usted encontrar en este disco compacto. Doy gracias a todos los que intervinieron en esta grabacion (al maestro Trevor Pinnock, al English Concert and Choir y a los solistas ya mencionados), en nombre mio y en nombre del maestro Handel.

Average customer rating:

Loss of Signal is a great find!

Loss of Signal
Borne
Manufacturer: Jellyfish Australia
ProductGroup: Music
Binding: Audio CD

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The Story

ASIN: B000KCHW7M
Release Date: 2007-03-01

Tracks:

Don't Go Now
Upside Down
Guide
Beautiful
Morning Star
Easily
Coma
One Last Time
Chariots
Sleep With Your Eyes Open
Souls On Satellite

Album Details

Upcoming Australian Indie Rock Outfits Debut Album Has Already Landed a Top 10 Spot in Itunes around the World, and the Song "Guide" was Single of the Week.

Customer Reviews:

Loss of Signal is a great find!.......2007-03-27

Borne has just made the perfect music. Get this item while you can. I bet there will only be so many discs for sale. A great C.D. to listen to with your significant other.

Average customer rating:

Excellent Choice to Sample Composers and Musicians
Makes you feel like your in heaven
Yee haw whut fine moosic

More Tears from Heaven

Manufacturer: RCA
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Binding: Audio CD

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ASIN: B00000I9LX
Release Date: 1999-03-09

Tracks:

St. Matthew Passion: Kommt, Ihr Tochter, helft mir klagen - Tolzer Knabenchor
Vocalise - Norman Luboff Choir
Messiah: Surely He Hathe Borne Our Griefs - Royal Philharmonic Chrorus
Messiah: And With His Stripes We Are Healed - Royal Philharmonic Chrorus
Messiah: All We Like Sheep Have Gone Astray - Royal Philharmonic Chrorus
Requiem: Lacrimosa - Bavarian Radio Symphony Orchestra
Mass In B minor: Crucifixus - Robert Shaw Chorale
Angus Dei - Richard Marlow
Jephte: Plorate Filii Jerusalem - Konrad Junghanel
Raquiem: Lacrymosa - George Solti
St. Matthew Passion: Wir Setzen Uns Mit Tranen Nieder - Tolzer Knabenchor
Spem In Alium - Musica Sacra Chorus

Customer Reviews:

Excellent Choice to Sample Composers and Musicians.......2004-11-26

World class musicians performing masterpieces. So many sampler CDs offer mediocre performers, but the musicians here are the cream of the crop. The choice of composers is also inspired. This is a great way to test the waters on choral music and find favorites without having to break the bank. One of my all time favorite CDs.

Makes you feel like your in heaven.......2002-02-23

I wish I could hear these musical pieces live. This, though, is the closest thing to doing that.

Yee haw whut fine moosic.......2000-05-11

ah pow'ful injoy this hyar CD. It soun's fine an' ah love th' sin'in' an' sco'es. A fine colleckshun af'er th' fust CD. ah particularly liked th' rendishun of that there Sergei Rachmaninov boys tune.

Legends of St. Nicholas: Medieval Chant & Polyphony

Average customer rating:

Classical heaven
wonderful
Excellent Alternative to 'Good Saint Nick'.
dream becomes flesh when i hear them.
Anonymous 4 is Synonymous 4 Eloquence and Style

Legends of St. Nicholas: Medieval Chant & Polyphony
Anonymous 4 , Gregorian Chant , St. Godrich , John Taverner , and Codex Las Huelgas Anonymous
Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

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Wolcum Yule: Celtic and British Songs and Carols - Anonymous 4 with Andrew Lawrence-King
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The Origin of Fire: Music and Visions of Hildegard von Bingen

ASIN: B00001NTHV
Release Date: 1999-09-07

Tracks:

Intonent hodie
Exultemus et letemur
Gaudens in domino
Seint Nicholas was borne in the citee of Patras
Confessor dei nicholaus
Cantu mirro, summa laude
Sainte nicholaes
Whanne the bisshop of the citee of Patras
Nicholai presulis
Cum quidam fluctuantia
Novus presul prodiit
Sainte nicholaes
All the province of Seint Nicholas suffered...
Plaudat letitia
Salve cleri speculum/Salve iubar presulum
Sainte nicholaes
A worschipfull man hadde thre doughtres virgines
Fulget nicolaus
Ex eius tumba / Sospitati dedit egros
Gaudens in domino
And whanne oure Lorde lust to take Seint Nicholas...
Psallat chorus/Eximie pater/[Apatur]
Nicholae presulum
Nicholaus pontifex

Amazon.com

If you're feeling jaded at the prospect of the usual holiday fare, Anonymous 4 has a truly sublime musical treat in store with their latest release. The contemporary world has turned Santa Claus into an icon of consumerist mania, but the historical figure from whom he ultimately derives was a uniquely inspiring religious figure to medieval Europeans. Anonymous 4 has culled together music from the liturgy of the hours and other sources originally produced to celebrate the legends associated with the fourth-century St. Nicholas, who was considered the patron of sailors, unmarried women, Russia, and--ironically--merchants. As with their earlier Christmas celebration, On Yoolis Night, the quartet ethereally blends their seamless, unaccompanied vocals in this collection of chants, hymns, and readings recounting the saint's life and miracles on behalf of those in need. In addition to Latin settings, the program includes one of the oldest known English-language hymns ("Sainte nicholaes," by a contemporary of Hildegard) and a number of verse-refrain pieces thought to inspire dancing in church. Most of the musical material involves simple unilinear trails of chant, which the ensemble spins out with their trademark unanimous purity of tone. Elsewhere, as in the spiraling eddies of "Novus presul prodiit," their suave harmonies glint like a sudden shaft of light through stained glass. And it is all captured in a warm, ambient church acoustic that is balm for modern ears. --Thomas May

Customer Reviews:

Classical heaven.......2007-01-06

I had never heard about Anonymous 4 until i read a review in the Dallas News.
Excellent! Grab a book, a cup of coffee and this CD and you will be in
heaven. Perfect harmonies, spiritually uplifting.....I even put this on after a stressful day (I am a teacher) and I melt into a blessed slumber.

wonderful.......2005-12-12

a previous reviewer made the comment that this must be what angels sound like. a more true statement has not been made. this is a wonderful cd. the music is amazing. if you're looking for a peaceful sound, this is it. enjoy.

Excellent Alternative to 'Good Saint Nick'........2005-11-10

'Legends of St. Nicholas' and 'A Star in the East' are both collections of medieval Christmas music. Both are based heavily on Latin chants. The first has some old English lyrics and the second is based on both original Hungarian material and material imported into Hungary from Greece and other centers of Eastern Christianity.

If you are considering one or the other, I find the 'Legends of St. Nicholas' to be the more diverse of the two, as it has chant, polyphony, and even some solo voices. The Hungarian selection seems just a bit too much like all the other material done by Anonymous 4.

To be sure, both are done with a typically exceptional high quality voice and recording technique, so you will not go wrong with either recording.

Both are highly recommended!

dream becomes flesh when i hear them........2001-05-02

I often make collections of early music that combine vocal and instrumental peaces that gives the ultimate pleasure for my ears. like time has stoped for a second... i feel like im diving into a world of total beauty when i hear those 4 angels "chanting" if there is heaven then "anonymous 4" are there for the soundtrack my wish is that someone will convis them to make an album with some instruments added like harp and other autenthic tools(hi hi). in short buy this disk its a treasure!!!(and its one of their best ones too.)

Anonymous 4 is Synonymous 4 Eloquence and Style.......2001-01-26

I first sampled music from this CD last year in the "Free download" section here at Amazon. I enjoyed the music so much I purchased the CD.

Anonymous 4 has a very eloquent sound and style. Their sound is like a smooth flat rock skipping along on a placid lake, and it carries you along with it. This music has nice harmonies and a clear fully rounded sound. The CD itself contains 69 minutes of music that you can listen to while reading, studying, or whatever.

The music's story is developed around the legend or story of St. Nicholas. The CD comes with a booklet that describes this legend and gives a brief history of how it developed. All the songs are performed in a type of Medieval chant in the Latin language.

Tracks:

I Vespri Siciliani: Overture
Luisa Miller: Quando le sere al placido
Lucia di Lammermoor: Fra poco a me ricovero
L'arlesiana: Il lamento di Federico
Mattinata
Serenata
La mia canzone al vento
It Don't Mean A Thing
I Can Go To God In Prayer
Chitarra romana
La Girometta
Occhi di fata
Fantasie brillante sur Carmen
Rondine al nido
Non ti scordar di me
Werther: Pourquoi me reveiller?
TOSCA: Recondita armonia
TOSCA: E lucevan le stelle
'O sole mio
Turandot: Nessun Dorma

Customer Reviews:

Pavarotti swoons The Big Apple..........2007-06-04

A stand out from a career of remarkable achievements, Luciano Pavarotti
historically performs before a half a million in NYC's Central Park. The digital true to life live recording of June 26th. 1993 preserves that evening for posterity. Besides superb engineering he has the support of the world class NY Philharmonic that savors the occasion. The carefully selected program includes a few opera arias, but the majority are beautifully arranged Italian songs. Throughout, Pavarotti's voice is consistently up to the task, sweet and distinct, and he really lets it rip when required. The crowd pleaser, over played "Nessa Dorma" has come off better elsewhere! However, the overall program is captivating, exhibiting why Pavarotti has popularized opera to greater audiences.
Andre Griminelli(solo flute)on a Carmen Fantasy and The Boy's Choir of Harlem capablely keeps the crowd amused during Pavarotti's rest breaks. I was amazed how disciplined and what little crowd chatter there was during the performance, further emphasising the respect Luciano Pavarotti commands.

A wonderful experience.......2000-12-23

What other opera singer besides Luciano Pavarotti could attract half a million people to Central Park to watch him in concert? This concert of June 1993 was truly special. From the opening Verdi Overture "I Vespri Siciliani" played by the New York Philharmonic, you know you're in for a treat. Pavarotti sings an assortment of well-loved Arias, but what you don't really expect is the Duke Ellington classic "It don't mean a thing" sung by The Boys Choir of Harlem and also the traditional gospel number, "I can go to God in prayer". As out of place as they may seem in this context, they fit in perfectly. A wonderful album...anyone who loves Pavarotti will love this.

Handel - Messiah / Vyvyan · Sinclair · Vickers · Tozzi · Royal PO · Beecham

Average customer rating:

Beecham's noisy Messiah
The Big Victorian Handel 'Messiah': Indulge Yourself!
Comfort Ye!
Familiarity hasn't bred much affection
Thanks to Jon!

Handel - Messiah / Vyvyan · Sinclair · Vickers · Tozzi · Royal PO · Beecham
George Frideric Handel , Sir Thomas Beecham , Jennifer Vyvyan , Monica Sinclair , Royal Philharmonic Orchestra , Jon Vickers , and Giorgio Tozzi
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Handel - Messiah / Harper, Watts, Wakefield, Shirley-Quirk, LSO, C. Davis
Handel: Messiah
Purcell: Dido and Aeneas / James, Lewis, Baker, Herincx
Messiah (Complete)
Handel - Joshua / Kirkby, Bowman, Oliver, Ainsley, George, The King's Consort

ASIN: B000003FB8
Release Date: 1992-07-14

Tracks:

Messiah: Overture - Royal Philharmonic Orchestra
Messiah: Recit: Comfort Ye, My People (Tenor) - Jon Vickers
Messiah: Air: Every Valley Shall Be Exalted (Tenor) - Jon Vickers
Messiah: Chorus: And The Glory Of The Lord - John McCarthy
Messiah: Recit: Thus Saith The Lord Of Hosts (Bass) - Giorgio Tozzi
Messiah: Air: But Who May Abide (Bass) - Giorgio Tozzi
Messiah: Chorus: And He Shall Purify - John McCarthy
Messiah: Recit: Behold, A Virgin Shall Conceive (Contralto) - Monica Sinclair
Messiah: Air & Chorus: O Thou That Tellest Good Tidings (Contralto) - John McCarthy
Messiah: Recit: For, Behold, Darkness Shall Cover (Bass) - Giorgio Tozzi
Messiah: Air: The People That Walked In Darkness (Bass) - Giorgio Tozzi
Messiah: Chorus: For Unto Us A Child Is Born - John McCarthy
Messiah: Pastoral Symphony - Royal Philharmonic Chorus
Messiah: Recit: There Were Shepherds Abiding (Soprano) - Jennifer Vyvyan
Messiah: Recit: And The Angel Said Unto Them (Soprano) - Jennifer Vyvyan
Messiah: Recit: And Suddenly There Was (Soprano) - Jennifer Vyvyan
Messiah: Chorus: Glory To God In The Highest - John McCarthy
Messiah: Air: Rejoice Greatly, O Daughter (Soprano) - Jennifer Vyvyan
Messiah: Recit: Then Shall The Eyes (Contralto) - Monica Sinclair
Messiah: Air: He Shall Feed His Flock; Come Unto Him (Contralto & Soprano) - Monica Sinclair
Messiah: Chorus: His Yoke Is Easy - John McCarthy

Tracks:

Messiah: Chorus: Behold The Lamb Of God - John McCarthy
Messiah: Air: He Was Despised (Contralto) - Monica Sinclair
Messiah: Chorus: Surely He Hath Borne Our Griefs - John McCarthy
Messiah: Chorus: And With His Stripes We Are Healed - John McCarthy
Messiah: Chorus: All We Like Sheep Have Gone Astray - John McCarthy
Messiah: Recit: All They That See Him (Tenor) - Jon Vickers
Messiah: Chorus: He Trusted In God - John McCarthy
Messiah: Recit: Thy Rebuke Hath Broken His Heart (Tenor) - Jon Vickers
Messiah: Air: Behold, And See If There Be (Tenor) - Jon Vickers
Messiah: Recit: He Was Cut Off Out Of The Land (Tenor) - Jon Vickers
Messiah: Air: But Thou Didst Not Leave (Tenor) - Jon Vickers
Messiah: Chorus: Lift Up Your Heads - John McCarthy
Messiah: Air: How Beautiful Are The Feet (Soprano) - Jennifer Vyvyan
Messiah: Chorus: Their Sound Is Gone Out Into All Lands - John McCarthy
Messiah: Air: Why Do The Nations So Furious Rage (Bass) - Giorgio Tozzi
Messiah: Chorus: Lets Us Break Their Bonds Asunder - John McCarthy
Messiah: Recit: He That Dwelleth In Heaven (Tenor) - Jon Vickers
Messiah: Air: Thou Shalt Break Them (Tenor) - Jon Vickers
Messiah: Chorus: Hallelujah! - John McCarthy
Messiah: Part III - Air: I Know That My Redeemer Liveth (Soprano) - Jennifer Vyvyan
Messiah: Chorus: Since By Man Came Death - John McCarthy
Messiah: Recit: Behold, I Tell You A Mystery (Bass) - Giorgio Tozzi
Messiah: Air: The Trumpet Shall Sound (Bass) - Giorgio Tozzi
Messiah: Chorus: Worthy Is The Lamb - John McCarthy

Tracks:

Messiah: Recit: Unto Which Of The Angels (Tenor) - Jon Vickers
Messiah: Chorus: Let All The Angels Of God Worship Him - John McCarthy
Messiah: Air: Thou Art Gone Up On High (Bass) - Giorgio Tozzi
Messiah: Chorus: The Lord Gave The Word - John McCarthy
Messiah: Recit: Then Shall Be Brought To Pass (Contralto) - Monica Sinclair
Messiah: Duet: O Death, Where Is Thy Sting? (Contralto & Tenor) - Monica Sinclair
Messiah: Chorus: But Thanks Be To God - John McCarthy
Messiah: Air: If God Be For Us (Soprano) - Jennifer Vyvyan

Amazon.com essential recording

Sir Thomas Beecham's Messiah has become notorious among baroque purists (like this writer) for embodying the worst excesses of pre-1960 Handel performance: ponderous tempos, stentorian opera singers, huge lumbering choruses and orchestras, crashing cymbals, clanging triangles.... Well, we'll need a new straw man: this performance is WONDERFUL. Jon Vickers and Giorgio Tozzi negotiate Handel's writing surprisingly well; Jennifer Vyvyan takes to it naturally. The chorus and orchestra (yes, including trombones, tuba, triangle, and cymbals) may obscure the part-writing, but they fill the music with power, grandeur, and faith. If Mozart could re-orchestrate Messiah, why not Beecham? This may not be Handel's Messiah as such, it may even be a period piece itself--but it's magnificent. --Matthew Westphal

Customer Reviews:

Beecham's noisy Messiah.......2006-12-23

Here's the famous Messiah from Thomas Beecham and forces that uses crashing cymbals, enhanced timpani and brass to make it sound like a collusion between classical forces, a rock band and Canadian Brass. Listen to second CD excerpt from "Hallelujah!" for the opening cymbal crash to get an idea of what's going on.

This performance has been debated for 40 years as to whether it is musically adept, musically correct, an exemplar of the English choral tradition, or just a big old batch of fun at Handel's expense. I first owned this during a time when I also owned a recording Handel's "Royal Fireworks Music" featuring 40 woodwinds. The two made roughly an equal amount of noise.

There isn't much question this performance is completely out of step with the way Handel is performed in most venues today. Check out the wonderful Jon Vickers' highly operatic opening aria, "Comfort ye", then compare that to any leaned-out period group you've heard. You'll get another idea of the dimension of Beecham's project.

While not on the agenda of the Flat Earth Society, the only real interest in a performance like this -- especially having to endure it on three CDs when just about everyone else puts it on two -- is nostalgia or history, whichever happens to be the case for you.

My personal favorite version is in the 4-CD box of "Messiah" and "Israel In Egypt" where Andrew Parrott leads his Taverner Choir & Players and some of the best early music singers including Emma Kirkby, Emily van Evera, Margaret Cable, David Thomas, and Joseph Cornwall. HIs Messiah isn't perfect -- it uses a countertenor for a bass in one aria -- but it is more moderate than most PPP recordings and has a wonderful romantic edge to most of the score. It comes with a top notch recording of "Israel in Egypt" and still costs less than the Beehcham.

The Big Victorian Handel 'Messiah': Indulge Yourself!.......2006-12-16

We live in an era when purity of intent and respect for composers' works is at an all time high. Not only are we blessed with superb 'authentic' performances on period instruments and with small choruses and countertenors and state of the art bel canto singers for Handel's evergreen "Messiah", there are many superlative recordings that are as polished as any one work on current recordings. Supposedly we are hearing Messiah the way Handel envisioned it. Perhaps so, but who is to say that had Handel the resources available today he wouldn't have jumped for joy at the drama of the old British Choral Societies version that Sir Thomas Beecham conducts on this anything but dusty recording from many years ago. The 'Old School' had its good points.

Beecham goes all out with an orchestration, while attributed to Sir Eugene Goosens is also probably some of Beecham's own inimitable tinkering, that adds instruments not only in numbers but also in color and depth of sound. Winds double strings, percussion includes the full battery instead of just tympani, the big cello and viola sound stand equally with the big violin sound, etc. The chorus is huge, and while this allows the big dramatic moments to be intense, the fine diction Beecham demanded remains solidly intact.

The soloists are in an operatic class of their own. Jennifer Vyvyan and Monica Sinclair were major singers when this recording was made and their singing is big and well ornamented. Jon Vickers and Giorgio Tozzi bring Verdi into the room and he is a welcome visitor to Beecham's vision of this work.

For this listener, who prefers the 'correct, authentic' performance, this recording and others even older that celebrate the BIG Messiah are a delight. And that just proves that performance standards, no matter the interpretation of the conductor, are paramount: Beecham gives a solid, convincing interpretation to the operatic Messiah. It is lush, and huge, and absolutely wonderful to hear again! Grady Harp, December 06

Comfort Ye!.......2006-10-30

If your not familiar with "Messiah" don't let the reviews scare you - this is certainly a great choice for your first or only recording. There is a lot of feeling in the playing and singing, and i feel it is quite respectful not only of the composer, but the subject matter. It includes a booklet with all the lyrics, and an essay by Beecham himself about the piece. It is a complete recording, with a "bonus cd" of extra verses not usually performed (as explained in the essay). The audio quality is great for the time it was recorded. Its much more worthy to be listened to and contemplated than to be put on as backround music at Christmastime. The price is certainly reasonable in light of the quality of the performance.

Familiarity hasn't bred much affection.......2005-11-02

I first became acquainted with this recording at the tender age of 12 when I received the original Soria edition as a Christmas gift. I remember being intensely disappointed at what seemed to me then as more circus than music. Time has mellowed that negative reaction and gives a more balanced assessment of Beecham's achievement - I bought the CD reissue after all. It still doesn't inspire much affection in yours truly although I can appreciate the soloists' contributions, particularly Tozzi. The lamented Vyvyan was in better voice with Boult. Here she has a rapid vibrato and a curious way of articulating the high notes. The orchestrations seem to maintain more of the clarity of the writing by concentrating on the bass and the top without clogging up the middle voices in the manner of the Victorians. There are three pieces where it just doesn't work at all to these ears: the brassy "All we like sheep," "Hallelujah" (which summons visions of Fucik's 'Entry of the Gladiators' every time I hear it), and the disintegration of the obbligato trumpet into flute noodlings in "The trumpet shall sound," in a lightweight performance that is at odds with the grandeur of the text. I'll also admit that the splashy brilliance of "For unto us a Child is born" and the surging drama of "Surely, He hath borne our griefs" are very satisfying.

In the forty some recordings I own (and the many performances I've attended) there's no best and no definitive. This is one I respect but don't care to hear very often.

Thanks to Jon!.......2005-03-08

This recording is worth having first of all beacause of the credible singing of Jon Vickers! Yes, he really sings on the words. The "Comfort Ye" and "Every valley..." have a knew dimension after Jons reading of the score. Of course I know that in tradition we want a very much more lyrical voice to this masterpiece. But he's not alone here, and now we are already into the problem; the choir! It's just terrible, yes terrible!
I'm just ending up with "Thanks to Jon!"

Average customer rating:

Handel: The Masterworks (Box Set)

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00062FLI8
Release Date: 2004-11-30

Bridge Across the Pyrenees [Hybrid SACD]

Average customer rating:

STUNNING: THE AWESOME LADY WITH THE GOLDEN FLUTE AND THE SPSO

Bridge Across the Pyrenees [Hybrid SACD]

Manufacturer: Bis
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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ASIN: B000JVSWBE
Release Date: 2006-11-28

Customer Reviews:

STUNNING: THE AWESOME LADY WITH THE GOLDEN FLUTE AND THE SPSO.......2007-02-14

Five HUGE Stars!! Virtuoso flautist Sharon Bezaly is one of the classical music world's true superstars as clearly demonstrated on this beautifully-recorded Hybrid SACD disc. If you haven't heard of this lady before, it's time to catch up to her wonderful art: blazing technique, a fleeting touch, burnished nuances, phenomenal breathing, and great respect for both the traditional and the new classical composers, all played on a specially-made 24-carat gold Muramatsu flute. How good is she? There are sections of this CD where you may not believe your ears!

The concept of "Bridge Across the Pynenees: Flute Concertos" is based on two concertos for flute from both sides of the Pynenees mountains which divide France and Spain: a flute concerto by Spain's Joaquin Rodrigo, a flute concerto by France's Jacques Ibert, and a fantasy by France's Francois Borne with Ms Bezaly beautifully complemented throughout by the wonderfully-inspired São Paulo Symphony Orchestra, under the baton of the redoubtable John Neschling. To begin with, we have Joaquin Rodrigo's lyrical but technically demanding "Concierto pastora" which was composed for legendary flautist James Galway. "Pieces De Resistance" are the 'call and response' between the flute and brass during the Allegro, and the magical flute, oboe & clarinet exchanges during the Adagio, plus the stunning flute soliloquys. You can hear the birds and insects.

François Borne's "Fantaisie brillante sur des airs de Carmen" is based on Bizet's opera. Arranged for flute and orchestra by Giancarlo Chiaramello, it is AWESOME, especially with Sharon's brilliant doubling and tripling of the Carmen theme in seamless, 'smoking' runs. For me, this add-on piece is the highest point of the CD displaying Sharon's complete technical and emotional package as a flautist, not to mention some incredible circular breathing, in one fell swoop of 11 minutes. It's a performance that lures me back, again and again.

Jacques Ibert's "Concerto for Flute and Orchestra" is multi-layered with a bravura performance by Sharon and the orchestra. Her steady tonal control, finger speed, and the ability of the golden flute to meet her demands in just phenomenal. The Allegro Scherzando is pure brilliance by orchestra and instrumentalist, with an unimpeded cascade of notes that is mesmerizing. All in all, a great performance by Ms Bezaly and the SPSO. The blazing performance of "Carmen" barely steals the show for me from two excellent concertos, especially the Ibert concerto. Stunning! My Highest Recommendation! Five BRILLIANT Stars!!

(Notes:
*Hybrid Multichannel SACD, 56:50 total time; the Hybrid SACD is playable on all CD players, computers, and true SACD players, which yield the maximum benefit.
*Track listing for Sharon Bezaly's performance with the Sao Paulo Symphony under John Neschling:
-"Concierto pastoral" by Joaquin Rodrigo;
: I Allegro: 7:40
: II Adagio: 11:23
: III Rondo: 6:33
-"Fantaisie brillante sur des airs de Carmen" by Francois Borne: 11:09
-"Concerto for Flute and Orchestra" by Jacques Ibert.
: I Allegro: 4:37
: II Andante: 6:38
: III Allegro Scherzando: 8:27)

Average customer rating:

Finally a Messiah with fervor!
Great recording!
Good and Bad
This is a great recording!

Handel: Messiah

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Christmas at Trinity

ASIN: B00002R16A
Release Date: 1999-11-30

Tracks:

Messiah: No. 1 Overture
Messiah: No. 2 Arioso For Tenor
Messiah: No. 3 Air For Tenor
Messiah: No. 4 Chorus
Messiah: No. 5 Recitative For Bass
Messiah: No. 6 Air For Bass
Messiah: No. 7 Chorus
Messiah: No. 8 Recitative For Alto
Messiah: No. 9 Air For Alto And Chorus
Messiah: No. 10 Arioso For Bass
Messiah: No. 11 Air For Bass
Messiah: No. 12 Chorus
Messiah: No. 13 Pifa (Pastoral Symphony)
Messiah: No. 14a Recitative And No. 14b Arioso For Soprano
Messiah: No. 15 Recitative For Soprano
Messiah: No. 16 Arioso For Soprano
Messiah: No. 17 Chorus
Messiah: No. 18 Air For Soprano
Messiah: No. 19 Recitative For Alto
Messiah: No. 20 Air For Alto And Soprano
Messiah: No. 21 Chorus
Messiah: No. 22 Chorus
Messiah: No. 23 Air For Alto
Messiah: No. 24 Chorus
Messiah: No. 25 Chorus
Messiah: No. 26 Chorus

Tracks:

Messiah: No. 27 Arioso For Tenor
Messiah: No. 28 Chorus
Messiah: No. 29 Recitative For Tenor
Messiah: No. 30 Air For Tenor
Messiah: No. 31 Recitative For Tenor
Messiah: No. 32 Air For Tenor
Messiah: No. 33 Chorus
Messiah: No. 34 Recitative For Tenor
Messiah: No. 35 Chorus
Messiah: No. 36 Air For Alto
Messiah: No. 37 Chorus
Messiah: No. 38 Aria For Soprano
Messiah: No. 39 Chorus
Messiah: No. 40 Air For Bass
Messiah: No. 41 Chorus
Messiah: No. 42 Recitative For Tenor
Messiah: No. 43 Air For Tenor
Messiah: No. 44 Chorus
Messiah: No. 45 Air For Soprano
Messiah: No. 46 Chorus
Messiah: No. 47 Recitative For Bass
Messiah: No. 48 Air For Bass
Messiah: No. 49 Recitative For Alto
Messiah: No. 50 Duet For Alto And Tenor
Messiah: No. 51 Chorus
Messiah: No. 52 Air For Soprano
Messiah: No. 53 Chorus
Messiah: Amen

Customer Reviews:

Finally a Messiah with fervor!.......2005-10-20

I've hunted a thrilling performance of The Messiah through 240 versions so far. This is the best I've found. Some are self-conscious, dutifully singing as instructed. Some are almost childish in their lilt. Some are overblown with so much bombast that you can barely hear the heart of the music. Some are concentrated on faithfulness to the original instruments. If you want a performance that will make you shiver with the power and joy of the music, this is the one. The singers are singing about GLORY. They sound as if they are ecstatic. The musicians are at one with the music and they create a virtual cathedral wherever this CD is played, just close your eyes. Or, let your own imagery, be it celestial, or of great oceans...carry you away.

Great recording!.......2003-09-22

There are so many performances of the Messiah out there that it is very difficult to point to a difinative one, but I'd put this in the catagory of the "very good" ones. As other reviewers have said, every performance is different and has its own character. Each has stronger and weaker points. Here the conductor and musicians have made good, solid musical choices. There is an amazing attention to detail which is not so obvious the first listen through but which makes the piece shine. The tempos seem to be right on, and there is no frivolous over-embellishment by the soloists. There is no attempt to be showey. The dramatic dynamics in the first section of the overture are interesting, but seem to work after you hear it a few times. This performance also includes sections which are often omitted (Second half of "He shall feed his flock," "Thou art gone up on high," "Great was the company of the preachers," and "Death where is thy sting"). I prefer the more intimate quality of a small ensemble of musicians to the mega-performances by the London Philharmonic, Vienna State Opera Orchestra, etc.. As with this performance, the smaller group lends a clarity to the music, where the larger ensembles can get a little "muddy" at times. Just my personal preference. Overall, this is a very good performance, and certainly the low price (being on the Naxos lable) makes this a clear choice.

Good and Bad.......2000-04-09

I was more interested in "The Messiah" for the religious content than as a music critic, but this was too much. The strings are tinny. The orchestra is plodding. The soloists and choir are thankfully very good and seem to understand the meaning of the words. It is a shame the sound mix is uneven. The male parts come across loud and clear, but the poor women. For instance, No. 9 Oh thou that tellest..., the soloist sounded like she was singing in an echo chamber far from the mike. This is one of the most disappointing versions of "The Messiah" I have heard in a long time.

This is a great recording!.......2000-02-11

I was really surprised with the new that the Messiah's New World premiere was held at Trinity Church in October 1770, twenty-eight years after it was written. This fact only will make one proud in having this CD among his collection.

Anyhow, this is nothing more than a historic detail and would not count if this recording had not an outstanding first-rate ensemble of singers. Without doubt there is no definitive version of Messiah. Each one has its own distinctive touch and feeling and exploring it is always a pleasant journey through imagination.

As stated by the conductor: "we must concede that performing Messiah with twenty singers and an appropriately balanced instrumental ensemble represents, at best, an imperfect comprimise", it will be easy to understand that this recording does not stand among the greatest and will probably carry some imperfections. I will mention two that kind of disppointed me a little bit. The Overture and the Chorus Worthy is the Lamb, for some reason misses the habitual vigor and strenght. Everything else is great and this is definitely a worth buying.

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