A (Somewhat) "New" Messiah Appears in Dallas

Handel: Messiah, HWV 56 (1741 Version) Kara McBain, soprano. Dianna Grabowski, alto. Dann Coakwell, tenor. David Grogan, bass. Hayden Smith, boy soprano. Dallas Bach Society Chorus and Orchestra/James Richman Onyx 4255 Disc One: Total Time: 73:54 Disc Two: Total Time: 69:37  Recording:   ****/**** Performance: ****/****

If there is a Baroque piece that is known by a larger share of the population, Handel’s Messiah is certainly that work.  From its very first performance in 1742, the oratorio became an annual event initially with funds helping support London’s Foundling Hospital.  Over the years, the work has shifted its appearance from its original Lenten season origins, to become among the holiday season’s must-see events across the globe.  The piece also has had its share of historical accretion with the Baroque-era size choir and orchestra rapidly expanding into larger choral ensembles across the 19th Century with a Crystal Palace performance in 1859 featuring over 3200 musicians!  Such excess was certainly part of the age and various large-scale performances often can feel almost Mahler-ian in scope.  In the last 50 years or so, with the increase in interest of “period practice”, one was able to experience a more scaled-back version with chamber orchestras and choirs leading the way.  Lovers of the oratorio have plenty of options to choose from whether they like modern performance or these semi-intimate approaches. 

Enter the Dallas Bach Society here with a long history of bringing great classic works to life from 17th- and 18th-centuries known for there many Bach cantata performances, and bringing to light other semi-forgotten works of the repertoire.  James Richman has been the Music Director of the group since 1995 and is well-respected for his performances of Baroque music.  Here he has the opportunity to introduce to audiences a brand-new edition of Handel’s score in a world premiere recording of a new Breitkopf and Hartel publication that has been created and edited by musicologist Malcolm Bruno and Caroline Ritchie of the original 1741 score.  The choir consists of 25 voices with an equal number of musicians (there are Baroque oboes and trumpets listed but it is not clear if all instruments are “period/authentic” in that respect).  Bruno provides a few historical notes about performance practices that have been applied here from his own research into the work and how this will impact the orchestral sound in particular in spots.  This helps overcome any qualms of what one might perceive as omissions.

Things get off well with clean articulations in the opening “Sinfonia” setting the tone as we head into the first tenor recitative and aria.  Dann Coakwell has great tone and control that also adds shape to the long melismatic writing that emphasizes texts here in “Every valley..”.  The ensemble also mimics the articulations well here too which allows for the imitation to work quite well here. The choir’s first entrance is also going to determine one’s enjoyment of this performance and their first appearance illustrates the value of the smaller ensemble with clear lines across each vocal range and excellent enunciation to help clearly articular text.  Bass David Grogan continues to build on the approach earlier and this consistency in performance continues as alto Dianna Grabowski and soprano Kara McBain enter in their respective Part One arias.  Boy soprano Hayden Smith also handles his moments admirably with a pure and deeper tone than one might suspect.   

While there is a sense of careful attention to detail here, the performance manages to maintain a strong sense of forward motion even in the slower tempi.  Some will also note a few minor melodic shifts in some of the arias, especially, where familiarity will require some suspension to appreciate the newly-edited musical text. The result is that it creates the opportunity listen closely and have a chance to hear this anew with fresh airs and to rediscover this music.  The overall balance of the sound here works very well to image the soloists somewhat placed across the front of the sound.  The orchestral forces in this somewhat smaller setting can plan without concern of overpowering them and the balance and attention to the detail in articulation and phrasing is well matched there.  The choir then has equally well-placed presence.

Obviously, everyone has their personal Messiah performance to taste.  This performance has the chance to hear this new edition of the score in an excellent performance and with a boy soprano soloist.  This lends it a unique place in the discography that can likely hold its own.  If you are wanting the big 19th-century sound of massive ensembles, you will need to go elsewhere.  Here we have a chance to appreciate the attention to detail and performance practice that audiences have come to love in the Dallas area.

The recording was made in the Myerson Symphony Center, Dallas, and one can hear some of the ambience of the hall at times.  Texts are also included as well.  Part Two is split across the two discs.  The package features a cardboard foldout case with discs snugly fit in traditional holders.  The booklet is nested in an overlaid slipcover.  Certainly, this Onyx release is a highlight of the year for fans of Baroque music and this classic repertoire.