single album


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Kerstin Avemo, soprano
Anna Zander, alto
Michael Weinius, tenor
Karl-Magnus Fredriksson, bass
S:t Jacobs Kammarkör
Maria Lindal, concert master
Gary Graden, conductor


Denna inspelning av Händels mästerverk sammanfattar väl vår tolkning av verket från 2011 och framåt. Live-inspelningen är sammanställd från tre konserter kring första advent 2016 och är resultatet av ett tätt samarbete mellan S:t Jacobs Kammarkör och Rebaroque, under ledning av Maria Lindal. Kören och barockorkestern har under många år framfört åtskilliga sakrala verk och när dirigentpinnen fördes vidare var det därför helt naturligt för oss att framföra Messias tillsammans.
/Gary Graden

This CD recording of Handel’s masterpiece captures the performance of the Messiah in the years since 2011. Recorded live from our three performances in late November 2016, it’s the expression of a close collaboration between choir and baroque orchestra. For many years S:t Jacobs Kammarkör, Rebaroque and their leader Maria Lindal have enjoyed the performances of many great works of the sacred repertoire. When the baton changed hands and it was time to continue the Messiah tradition with a new team it was only natural that Rebaroque and S:t Jacobs Kammarkör once again combined forces for the Messiah performances.
/Gary Graden  nov 15, 2017


SITE REVIEW:  This Messiah begins in an unusual way – solo organ starts before transitioning into the full orchestra – it’s certainly ear-catching, but there is more to recommend this recording.  The ReBaroque chamber orchestra is a fluid baroque ensemble, and play beautifully, with great expression and definition.  Tenor Michael Weinius possesses a powerful, heroic tone – he trills his ‘r’s’ with machine-gun-like efficiency, and sounds positively Machivellian on ”Comfort Ye” – an odd juxtaposition, but it works.  The St. James Kammarkör is also excellent – based in Sweden, their American director, Gary Graden has shaped them into an admirable ensemble.  Baritone Karl-Magnus Fredriksson is even more heroic in tone than Mr. Weinius, tackling his arias with fierce delight.  Soprano Kerstin Avemo is expressive, perhaps excessively so, but a bit too juicy in her tone for my taste. Alto Anna Zander is good, if a bit ‘vanilla’; she fades into the background compared to her flashier counterparts.  Tempos are generally moderate throughout; I wish a little more energy had been applied to some movements – but nothing drags – as a whole the performance is clean, taut, and beautifully performed, lacking only that extra spark to fully engage the heart. 
Bret D. Wheadon