VIDEO

LABEL: ARTHAUS MUSIK
CATALOG NUMBER: 101 175
UPC NUMBER: 807280117592
NUMBER OF DISCS: 1
RUNNING TIME: 136 MIN.
YEAR RECORDED: 1991
RELEASE DATE: OCTOBER 19, 2004
ASPECT RATIO: 1.33:1
AUDIO: PCM STEREO
REGION: 0 (NTSC)
CONDUCTOR: HELMUTH RILLING
ORCHESTRA: BACH-COLLEGIUM STUTTGART
CHOIR: GACHINGER KANTOREI
SOPRANO: DONNA BROWN
MEZZO-SOPRANO: CORNELIA KALLISCH
TENOR: ROBERTO SACCA
BASS: ALASTAIR MILES

VIDEO SAMPLES OTHER RELEASES

SITE RATING:  8/10
SITE REVIEW:  Rilling's Der Messias is certainly one of the more idiosyncratic performances to be captured on video, but is beautifully shot, and generally well performed; and, being one of the few Mozart arrangements filmed, devotees will want to investigate.  Arthaus video has certainly afforded this Messias a gold-medal treatment, with a thick booklet included, very good picture and audio quality, and excellent production values.  Shots of the gorgeous cathedral fill quiet moments, and multiple camera angles are used to good effect.  The performance itself cannot be considered definitive, Rilling makes odd choices with tempos, plowing through the Overture, but taking other movements more slowly than typical, or giving some choruses a martial air ("Behold The Lamb of God").  It's interesting, but the overall effect is more detached and affected than Rilling perhaps anticipated.  The Bach-Collegium Stuttgart plays modern instruments with great style and passion, while the Gachinger Kantorei sings well, with a dry, but effective performance.  Among the soloists, tenor Roberto Sacca sings with youthful flair, mezzo-soprano Cornelia Kallisch is weighty and pulls plenty of vibrato into her arias; soprano Donna Brown is a fiery, passionate presence; while bass Alastair Miles sings beautifully, with just a touch of hollowness to his tone.  I enjoyed this presentation overall, and Rilling's strong conducting hand, felt in every movement, is unusual and surprising enough to keep me interested.  A polished, professional Messias.


The Compleat Messiah All Content Copyright 2015 Bret D. Wheadon
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