麻豆社

It鈥檚 hard to reckon today that, when he came to write Messiah in the 1740s, Handel鈥檚 reputation with London audiences was at an all-time low, his last few operas having failed to win over audiences. In the face of this, he decamped to Ireland, writing much of Messiah in Dublin, where its premiere took place in 1742.

It was a success from the start, with women being asked by the Musick Hall鈥檚 management to wear dresses 鈥榳ithout Hoops鈥� in order to allow 鈥榬oom for more company鈥�. Almost 50 years later, an eyewitness at a 1791 performance in Westminster Abbey reported, that 鈥榳hen the powerful musical surge of the 鈥淗alleluja鈥� [Chorus] rushed forth, and the entire audience, from the king to the lowliest person, stood up 鈥� hardly an eye remained dry鈥�.

Messiah鈥檚 enduring popularity has meant that its interpretations have come in a vast array of flavours, from monster Come and Sing events with a cast of thousands, to smaller-scale, period-instrument performances with intimate forces. This performance conducted by Trevor Pinnock at the 麻豆社 Proms in 2000, falls into the latter camp.

Sean Rafferty introduces this archive performance, and talks to Trevor Pinnock between parts 1 and 2.

Handel: Messiah

Hillevi Martinpelto soprano
Monica Groop mezzo-soprano
Kurt Streit tenor
Nathan Berg bass-baritone

Choir of the English Concert
The English Concert
Trevor Pinnock conductor

(From 麻豆社 Proms 2000, 5 August)