RECORDINGS

LABEL: RECORDED PUBLICATIONS COMPANY
CATALOG NUMBER: RPC AZB-50882
UPC NUMBER: N/A
NUMBER OF DISCS: 2
RUNNING TIME: UNKNOWN
YEAR RECORDED: 196?
CD RELEASE DATE: N/A
CONDUCTOR: DAVID WILKINS; MARY LOU COONS
ORCHESTRA: THE KING'S COLLEGE ORCHESTRA
CHOIR: CHURCH OF THE OPEN DOOR CHOIR
SOPRANO: BARBARA SHANNO
CONTRALTO: MARGARET EVANS
TENOR: ROBERT STRATON
BASS: GEORGE BURDETT


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DISC ONE
SIDE ONE
1. Introduction
2. Overture
3. Comfort Ye My People
4. Every Valley Shall Be Exalted
5. And The Glory Of The Lord

SIDE TWO
1. Rejoice Greatly, O Daughter Of Zion
2. Recitative
3. He Shall Feed  His Flock Like A Shepherd
4. His Yoke Is Easy, And His Burthen Is Light
5. Hallelujah Chorus/Prayer
DISC TWO
SIDE THREE
1. For Behold Darkness Shall Cover The Earth
2. The People That Walked In Darkness
3. For Unto Us A Child Is Born
4. Pastoral Symphony
5. Recitative/Glory To God

SIDE FOUR
1. Thus Saith The Lord/But Who May Abide
2. And He Shall Purify
3. Behold! A Virgin Shall Conceive/O Thou That Tellest Good Tidings


SITE RATING:  2/10
SITE REVIEW:  A privately released LP, this live performance begins with a spoken introduction reciting the familiar story of Handel's servant telling the tale of discovering Handel in the process of writing, sobbing and saying he did see "all the heavens" opened before him.  Apocryphal though this story is, it sets the correct tone for this recording, which is fervent, grand, and yes, amateurish in the worst sense of the word.  The King's College Orchestra listed here is NOT the famed London organization, but a more low-key collective who have persistent intonation problems throughout.  Tenor Robert Straton is earnest, both is his performance, and his hammer-like musicality; having a good tone, powerful, but lacking fluidity.  The Church of the Open Door Choir is frankly, terrible.  Their lack of sensitivity, their blunt, heavy singing, spread vowels, and plain over-singing made their efforts drag down this recording several notches.  Soprano Barbara Shanno is pleasant, having a sweet manner and tone which is a refreshing change of pace from the orchestra and choral horrors which surround her.  Contralto Margaret Evans is similarly a bright spot, with a rich, fervent voice, while bass George Burdett is also one of the bright spots, powering through his arias with decent prowess.  Good soloists are the only reason to seek out this album, which is otherwise hamstrung by achingly poor playing and frightening choral work.

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