SITE REVIEW:  The impetus for this recording is ostensibly to present the '1741' edition of Messiah, predating the 1742 premiere in Dublin, which occurred some six months after the completion of the score. According to the booklet:

Messiah 1741 takes a fresh view of Handel’s autograph – ‘the wet ink from 1741’ – not as a sketch that would itself be relegated to join a group of ‘variants’ but as the original complete vision of Messiah commanding – despite its subsequent performance history – a sovereignty of its own. And with its choral movements virtually identical to the composer’s later performances, it is the 1741 arias that create a distinctive, more operatic Messiah.

So this recording purports to be the earliest version of Messiah, one that existed even before the Dublin premiere, when supposedly some changes occurred to encompass the local forces presenting the oratorio.  And there are noticeable differences in the arias - lengthened passages, alternate melodies, additional verses, and so forth, which makes this a curious listening experience. But there have been so many different versions of Messiah already recorded and released, that this version stands out simply by being unique in its emphasis.  Performance-wise, the soloists and combined forces of the Dallas Bach Society Chorus and Orchestra cannot be faulted.  Everyone plays and sings with great clearness and aplomb; those who might turn up their noses at a 'Texas baroque ensemble' need not fear - they are stellar, singing and playing with strict adherence to OP styles, The soloists are uniformly excellent, with special mention given to tenor Dann Coakwell and soprano Kara McBain, whose performances I found the most thrilling; and special mention must be given to treble Hayden Smith, whose solo on the No. 17 Recit. is ear-catching for its purity and brilliance.  The only fault I can find in the recording as a whole is a familiar one: an emphasis on style over feeling - there's much restraint shown in bringing the piece to bear, but not much fire or passion; tempos dictated by James Richman feel a bit held back, dramatic performances are muted, and the whole feels a little clinical and detached, instead of rejoicing at the message found in this most joyful of texts.  But there is much beauty and serenity to be found in this performance - recommended.