RECORDINGS

LABEL: PIEDMONT BAROQUE CONSORTIUM
CATALOG NUMBER: 889211183494
UPC NUMBER: 889211183494
NUMBER OF DISCS: 1
RUNNING TIME: UNKNOWN
YEAR RECORDED: 2014
CD RELEASE DATE: 2014
CONDUCTOR: DAVID TANG
ORCHESTRA: PIEDMONT BAROQUE CONSORTIUM / VOX, NORTH CAROLINA BAROQUE ORCHESTRA
CHOIR: PIEDMONT BAROQUE CONSORTIUM
SOPRANO: JENNIFER ELLIS-KAMPANI
ALTO: MARTHA BARTZ, REGINALD MOBLEY
TENOR: JOHN KANEKLIDES
BASS: NEAL SHARPE
AUDIO SAMPLES HIGHLIGHTS OTHER RELEASES

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DISC ONE

1. 1. Overture 3:02
2. 2. Comfort Ye (Tenor Recitative) 3:02
3. 3. Ev'ry Valley (Tenor Aria) 3:29
4. 4. And the Glory of the Lord (Chorus) 2:49
5. 5. Thus Saith the Lord (Bass Recitative) 1:34
6. 6. But Who May Abide (Alto Aria) 4:06
7. 7. And He Shall Purify (Chorus) 2:41
8. 8-9. Behold, A Virgin Shall Conceive /
          O Thou That Tellest Good Tidings to Zion (Alto Recitative, Aria and Chorus) 5:46
9. 10. For Behold, Darkness Shall Cover the Earth (Bass Recitative) 2:06
10. 11. The People Who Walked in Darkness (Bass Aria) 3:26
11. 12. For Unto Us (Chorus) 4:11
12. 13. Pifa 1:01
13. 14-16. Angel Recitatives (Soprano Recitatives) 1:27
14. 17. Glory to God (Chorus) 2:09
15. 18. Rejoice (Soprano Aria) 4:17
16. 19. Then Shall the Eyes of the Blind (Alto Recitative) 0:37
17. 20. He Shall Feed His Flock (Alto and Soprano Aria) 5:08
18. 21. His Yoke Is Easy (Chorus) 2:26
19. 44. Hallelujah (Bonus Chorus) 4:19
SITE RATING:  7/10
SITE REVIEW:  This performance, independently released by The Piedmont Baroque Consortium, is an abridged document - featuring Part One of Messiah along with a "bonus" chorus of "Hallelujah" (since it can't be Messiah without its most famous chorus, can it?)  and features some very nice moments, with some sterling performances by select soloists and orchestra, raising it a bit above most regional recordings.  I found superior tones and performances by tenor John Kaneklides, who I found particularly winning, alto Martha Bartz, bass Neal Sharpe and soprano Jennifer Ellis-Kampani.  Alto Reginald Mobley presents a rather piercing vibrato which fluttered and swooped in a distracting manner, and which I found too strident within the fabric of the majority of the soloists.  The combined baroque orchestras play admirably - a credit to both them and conductor David Tang, who leads everything with a sure hand.  The chorus is a little distant in the mix - with a generally clear, white tone, only with occasional sections (I'm looking at you, tenors) leaping out of the blend.  Nothing struck me as particularly electrifying, but this is a very polished, professional group, which any community would be proud to call their own.

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