An exceptionally fine performance of this all too rarely performed oratorio in a beautifully rich and warm acoustic. The soloists were both outstanding, Gwilym Bowen articulating and breathing real excitement into his lovely warm tenor voice. Anna Dennis was exceptional as ever with extraordinary nuance in a voice of amazing clarity and bloom. The few duets were something else! The orchestra played with real panache reaching a level of baroque playing I've rarely heard before. But the chorus plays a significant part in this oratorio. Even by the very high standards of professional choirs specialising in baroque music, this was absolutely exceptional! The sheer beauty of their singing was matched by perfect rhythm, an infectious 'bounce' when needed and beautifully modulated dynamics. The clarity of their diction would have put an English-speaking choir to shame. I can't imagine anyone will ever equal let alone exceed this superb performance!
Rarely does one hear such an astonishingly beautiful performance of this work! There are moments of sublime perfection that move the human soul. Thanks for posting it here👏🏽👏🏽👏🏽👏🏽
Privileged to be able to have the next best thing to a live seat in such a magnificent setting and such clean recording and so well filmed! Handel is a master of melody!
Excellently written and excellently performed . Bravo(!)34:26 Air (Tenore) - War, he sung, is toil and trouble; 51:36 Accompagnato (Tenore) and Chorus - Now strike the golden lyre again - you have achieved a superb performance of these arias.
Chi definisce il settecento il secolo della meraviglia e dello stupore dimentica di aggiungere che fu il secolo di Bach e Haendel, Kant, Leibniz Vivaldi, Voltaire, Hume, Federico il grande, Goya, Canaletto, Hogarth
Oh I do love Mr. Handel! You can identify Handel even when he's plagiarizing someone else's tune. It's even tastier when you have a good historically informed band and capable singers as we have here. I could listen to these musicians perform Handel all day and into the night.
I recall one time when a Bryan G. Levman, of the University of Toronto, Centre for the Study of Religion, and Music student, also a visiting scholar there, called the music of Handel "Bub Gum" to my face, I mean really!
Lol. Composers know they write for the masses...most of the audience do not know the difference between a C and D note, major or minor key, etc. They do not write for other musicians or music scholars usually. The vast masses of listeners therefore go by the only thing they can...how it MAKES THEM FEEL.
Avant d'accéder à cette vidéo, j'ai eu droit à deux magnifiques publicités, dont l'une m'a rappelé les publicités que diffusent les hypermarchés sur des petits téléviseurs et que personne me regardent : des sommets de bêtise. TH-cam fait bien de montrer ce qu'il est vraiment en rivalisant avec la plus bête des formes de promotion commerciale.
Such a beautiful performance...but someone has to tell the bass soloist that it is not an opera and that he is not the most important person in this work ...
I thought the bass did just fine. It's important to remember that though this is oratorio, Handel was first a writer of opera, who was forced to write non-dramatic works due to a church prohibition on theatre music. Even during the prohibition he still wrote very theatrical works, and it would not have been unusual during that time to have seen the soloists do a touch of "acting". Musically and in terms of balance, the bass did not overwhelm. He was right on target.
In a previous video of Haydn’s Harmoniemesse, I suggested that you used the German rather than English title of the work, in this case, I think the composer’s preferred English spelling of his own name should be used.* Handel spent almost half a century living in England, became a naturalised British subject, and on almost every extant manuscript, and documents, signs himself George Frideric *Handel;* it is therefore not clear why his expressed wish is so continually ignored. For context, the almost exact case of a composer born in one country but naturalised into another, almost nobody uses the original Giovanni Battista Lulli, but uses the composer’s adopted Jean Baptiste Lully; there is no sensible reason to use the birth name for one but adopted name for another other than a rather disrespectful attitude towards Handel in failing to extend a courtesy given to Lully. There are other examples of this inconsistency, if you insist on a German spelling of Handel, then in a third example, we must also use Maria Antonia rather than the adopted Marie Antoinette. In short, it’s Handel, Lully and Marie Antoinette, not Haendel, Lulli, and Maria Antonia. * In 1736 when Alexander’s Feast was written, Handel had long since become a British subject.
An exceptionally fine performance of this all too rarely performed oratorio in a beautifully rich and warm acoustic. The soloists were both outstanding, Gwilym Bowen articulating and breathing real excitement into his lovely warm tenor voice. Anna Dennis was exceptional as ever with extraordinary nuance in a voice of amazing clarity and bloom. The few duets were something else! The orchestra played with real panache reaching a level of baroque playing I've rarely heard before. But the chorus plays a significant part in this oratorio. Even by the very high standards of professional choirs specialising in baroque music, this was absolutely exceptional! The sheer beauty of their singing was matched by perfect rhythm, an infectious 'bounce' when needed and beautifully modulated dynamics. The clarity of their diction would have put an English-speaking choir to shame. I can't imagine anyone will ever equal let alone exceed this superb performance!
Not an Oratorio, but an Ode
La prestation de la basse est fantastique également
@@palette_1563 Sorry!
Mi chiedo se Handel era un Angelo sceso dal cielo di Halle 😊❤ Questa Musica è Soprannaturale ✨🎇🌌🙏❤🎼🎻🎶🎶🎶🎶
Beautiful recording of a great performance. First I've come across Gwilym Bowen, what a gem!!
Rarely does one hear such an astonishingly beautiful performance of this work! There are moments of sublime perfection that move the human soul. Thanks for posting it here👏🏽👏🏽👏🏽👏🏽
31:16 How miraculous is it that we can listen to the thoughts of a great musician 3 centuries after he wrote the notes
Très très bon
Exécution remarquable .
Zauberhafte Musik,und Freude, schön ist das,vielen Dank😊❤
Anna Dennis !!! What an extraordinarily moving and beautiful concert. The joy on all their faces. 😍 🎶🙋🗣🎶
Maestro Händel lacht förmlich aus dem Himmel. 👍👍👍
Handel 🎉 bravo 🍾
Freude groß,lassen Schmerzen vergessen,😊
OUTSTANDING PERFORMANCE!
Превосходно!!! Профессионалы высшего уровня! Все так слаженно и гармонично! Брависсимо!!!
So very well done definitely a number one it made me so happy well done to all !!!!
What a delight to find this superb performance on TH-cam! Thanks so much for posting
MAGNIFICENTISSIMO!
Das Zuhören dieser Musik ist wie ein "Geschenk des Himmels 😅❤"
Privileged to be able to have the next best thing to a live seat in such a magnificent setting and such clean recording and so well filmed! Handel is a master of melody!
I listen to this almost every day. She enjoys this so much. you cannot help but join her. What talent!!
Magnificent rendition of Handel's work, so very well done!!!
Excellently written and excellently performed . Bravo(!)34:26 Air (Tenore) - War, he sung, is toil and trouble; 51:36 Accompagnato (Tenore) and Chorus - Now strike the golden lyre again - you have achieved a superb performance of these arias.
Exceptionnel à tout point de vue : l'œuvre, les solistes, l'orchestre. Bravo à tous
Chi definisce il settecento il secolo della meraviglia e dello stupore dimentica di aggiungere che fu il secolo di Bach e Haendel, Kant, Leibniz Vivaldi, Voltaire, Hume, Federico il grande, Goya, Canaletto, Hogarth
Dodnes nepřekonaná hudba Händela a samozřejmě Bacha. Hudba těchto dvou velikánů baroka je balzám pro duši posluchače. Skvělý výkon celého ansámblu.
Magnifique!!!❤
Dasist ja wunderbar😌❤️
Complimenti bellissimo ! Bravi
fantastic !!!!!!!!!!!!
Oh I do love Mr. Handel! You can identify Handel even when he's plagiarizing someone else's tune. It's even tastier when you have a good historically informed band and capable singers as we have here. I could listen to these musicians perform Handel all day and into the night.
Prove it
Imitation being the sincerest form of flattery most composers past and present are guilty of a bit of plagiarism
Una versión realmente extraordinaria !!!!!!!! ❤❤❤❤
Absolutely beautiful...
wunderbar musiziert, beglückend. 1000 Dank. (Und der Brixener Dom kaum halbvoll :-(
Es war ein Genuss!
Bravo ❤️❤️❤️
Praise Zeus the Allfather for the beautiful music
I recall one time when a Bryan G. Levman, of the University of Toronto, Centre for the Study of Religion, and Music student, also a visiting scholar there, called the music of Handel "Bub Gum" to my face, I mean really!
Lol. Composers know they write for the masses...most of the audience do not know the difference between a C and D note, major or minor key, etc. They do not write for other musicians or music scholars usually. The vast masses of listeners therefore go by the only thing they can...how it MAKES THEM FEEL.
Sehr gutes video
i nostri grandi maestri del passato!!!tutti maestosi
Choir of Angels in Heaven
This beautiful music will never play in iran.
Who knows, sometimes there are miracles and wonders happening. I'm no praying person, but I hope for you and wish you the best 🙏
52:20
Avant d'accéder à cette vidéo, j'ai eu droit à deux magnifiques publicités, dont l'une m'a rappelé les publicités que diffusent les hypermarchés sur des petits téléviseurs et que personne me regardent : des sommets de bêtise. TH-cam fait bien de montrer ce qu'il est vraiment en rivalisant avec la plus bête des formes de promotion commerciale.
Csodálatos
Such a beautiful performance...but someone has to tell the bass soloist that it is not an opera and that he is not the most important person in this work ...
I thought the bass did just fine. It's important to remember that though this is oratorio, Handel was first a writer of opera, who was forced to write non-dramatic works due to a church prohibition on theatre music. Even during the prohibition he still wrote very theatrical works, and it would not have been unusual during that time to have seen the soloists do a touch of "acting". Musically and in terms of balance, the bass did not overwhelm. He was right on target.
What language do they sing in?
They sing in English🙂
@@ishizukaponko With all that "violent" rattling of the tongue tip?
@@slomo4672 That "rattling of the tongue tip" was a flourish of the Baroque period. It is something which performers of Handel's day would have done.
In a previous video of Haydn’s Harmoniemesse, I suggested that you used the German rather than English title of the work, in this case, I think the composer’s preferred English spelling of his own name should be used.*
Handel spent almost half a century living in England, became a naturalised British subject, and on almost every extant manuscript, and documents, signs himself George Frideric *Handel;* it is therefore not clear why his expressed wish is so continually ignored.
For context, the almost exact case of a composer born in one country but naturalised into another, almost nobody uses the original Giovanni Battista Lulli, but uses the composer’s adopted Jean Baptiste Lully; there is no sensible reason to use the birth name for one but adopted name for another other than a rather disrespectful attitude towards Handel in failing to extend a courtesy given to Lully.
There are other examples of this inconsistency, if you insist on a German spelling of Handel, then in a third example, we must also use Maria Antonia rather than the adopted Marie Antoinette.
In short, it’s Handel, Lully and Marie Antoinette, not Haendel, Lulli, and Maria Antonia.
* In 1736 when Alexander’s Feast was written, Handel had long since become a British subject.