1. Sinfonia 05:52
2. Recitative: Comfort ye my people
(Tenor) 02:54
3. Aria: Every valley shall be exalted
(Tenor) 03:16
4. And the glory of the Lord shall be
revealed (Chorus) 02:39
5. Recitative: Thus saith the Lord
(Bass) 01:35
6. Aria: But who may abide the day of
His coming (Alto) 04:34
7. And He shall purify the sons of Levi
(Chorus) 02:21
8. Recitative: Behold, a virgin shall
conceive (Alto) 00:27
9. Aria: O thou that tellest good
tidings to Zion (Alto) 03:42
10. O thou that tellest good tidings to
Zion (Chorus) 01:36
11. Recitative: For behold, darkness
shall cover the earth (Bass) 02:21
12. Aria: The people that walked in
darkness have seen a great light (Bass)
03:12
13. For unto a child is born (Chorus)
03:50
14. Pifa 03:13
15. Recitative: There were shepherds
abiding in the field (Soprano) 01:20
16. Glory to God in the highest (Chorus)
01:56
17. Aria: Rejoice greatly, O daughter of
Zion (Soprano)
00:04:17
18. Recitative: Then shall the eyes of
the blind be opened (Alto) 00:31
19. Aria: He shall feed His flock like a
shepherd (Alto, Soprano) 05:38
20. His yoke is easy, His burthen is
light (Chorus) 02:11
21. Behold the Lamb of God (Chorus)
03:40
22. Aria: He was despised and rejected
of men (Alto) 10:10
23. Surely, He hath borne our griefs and
carried our sorrows (Chorus) 02:00
24. And with His stripes we are healed
(Chorus) 01:58
25. All we like sheep have gone astray
(Chorus) 03:37
DISC
TWO
1. Recitative: All they that see
Him Laugh Him to scorn (Tenor) 00:44
2. He trusted in God that He would
deliver Him (Chorus) 02:21
3. Recitative: Thy rebuke hath broken
His heart (Tenor) 01:58
4. Arioso: Behold, and see if there be
any sorrow like unto His sorrow! (Tenor)
01:35
5. Recitative: He was cut off out of the
land of the living (Tenor) 00:20
6. Aria: But thou didst not leave His
soul in Hell (Tenor) 03:07
7. Lift up your heads (Chorus) 02:49
8. Recitative: Unto which of the angels
said He at any time (Tenor) 00:17
9. Let all the angels of God worship Him
(Chorus) 01:22
10. Aria: Thou art gone up high (Alto)
03:07
11. The Lord gave the word (Chorus)
01:03
12. Duet: How beautiful are the feet of
Him that bringeth glad tidings of
salvation (Soprano, Alto) 02:20
13. Their sound is gone out into all
lands (Chorus) 01:34
14. Aria: Why do the nations so furiosly
rage together (Bass) 02:48
15. Let us break their bonds asunder
(Chorus) 01:33
16. Recitative: He that dwelleth in
heaven shall laugh them to scorn (Tenor)
00:14
17. Aria: Thou shalt break them with a
rod of iron (Tenor) 01:54
18. Hallelujah! (Chorus) 03:38
19. Aria: I know that my Redeemer liveth
(Soprano) 05:16
20. Since by man came death (Chorus)
02:03
21. Recitative: Behold, I tell you a
mystery (Bass) 00:40
22. Aria: The trumpet shall sound (Bass)
08:18
23. Recitative: Then shall be brought to
pass the saying that is written (Alto)
00:20
24. Duet: O Death, where is thy sting
(Alto, Tenor) 01:07
25. But thanks be to God (Chorus) 02:13
26. Aria: If God be for us, who can be
against us? (Soprano) 04:36
27. Worthy is the Lamb that was slain
(Chorus) 03:52
28. Amen (Chorus) 03:58
SITE RATING: 4/10
SITE
REVIEW:A 2010
entry by Danish conductor Nenia Zenana,
along with the Academic Choir and Orchestra,
this performance beings with one of the
slowest, most soporific "Sinfonia's" I've
heard in a long, long time. Giving
such 1950s luminaries as Sir Malcom Sargent
and Hermann Scherchen a run for their money
for lackadaisacal tempos, Zenana's
"Sinfonia" manages to slow things down to
the speed of cold molasses, yet doesn't
infuse the music with the same richness, or
grandeur which the former directors brought
to the table. This tendency creates a
bit of a problem for all the performers, who
struggle with the long, languid lines, and
only perk up when the director decides to
occasionally speed things up. Tenor
Kristian Sorenson has a light. pleasant
tessitura, but is meek in his upper register
and half-hearted in his attempts at
ornamentation. Alto Ulla Jensen sounds
watery and chesty, with a wide
vibrato. Bass John Lundgren is simply
not up to the part, with a throaty placement
and uncertain melismas dooming his
arias. Soprano Marianne G. Nielsen
possesses a pleasant upper register, clear
and neat, but struggles in her lower
reaches, and had a tendency to spread her
vowels. As far as the Academic Choir
and Orchestra, they are competent, no more,
with Zenana giving them no particular
direction with which to distinguish
themselves. They sing and play the
parts, but there's no passion, or
electricity. It both performance and
sound, it reminded me strongly of Jane
Glover's 2010 Messiah, which
was similarly undistinguished and
forgettable.
