Peter Dijkstra's performance of George Frideric Handel's Messiah with the fancifully named B'Rock Belgian Baroque Orchestra Ghent is plainly a period interpretation, despite the group's hip name, which might suggest something a bit more updated. To the contrary, the practices of Handel's time are carefully observed, and the free ornamentation, touches of improvisation, buoyant rhythms, brisk tempos, and crisp instrumental colors of the 18th century are everywhere in evidence. If there's anything rocking about their ...
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Peter Dijkstra's performance of George Frideric Handel's Messiah with the fancifully named B'Rock Belgian Baroque Orchestra Ghent is plainly a period interpretation, despite the group's hip name, which might suggest something a bit more updated. To the contrary, the practices of Handel's time are carefully observed, and the free ornamentation, touches of improvisation, buoyant rhythms, brisk tempos, and crisp instrumental colors of the 18th century are everywhere in evidence. If there's anything rocking about their rendition, it must be the lively spirit that infuses this time-honored oratorio. Dijkstra and his orchestra are joined by a quartet of virtuoso vocalists, soprano Julia Doyle, countertenor Lawrence Zazzo, tenor Steve Davislim, and bass-baritone Neal Davies, along with the Bavarian Radio Chorus, which is rhythmically spry and rather lean-sounding for its size and perfectly clear in articulation. There's nothing of the stodgy, overly reverent style of old-fashioned performances to weigh this...
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