Following several acclaimed albums of Handel’s operatic and choral masterpieces (including a triumphant Giulio Cesare with Natalie Dessay as Cleopatra and the oratorio La Resurrezione with British soprano Kate Royal), French harpsichordist and conductor Emmanuelle Haïm at last brings her fresh, expressive approach to Messiah. Joining her on a musically and spiritually uplifting journey for this long-awaited recording is Haïm’s own choir and period-instrument orchestra, Le Concert d’Astrée, with four of the UK’s finest Handelian singers. Having begun her career as a brilliant harpsichordist and protegee of Baroque pioneers William Christie and Christophe Rousset, Haïm has a long history with Messiah. She is invited regularly to conduct the work in France (this album was recorded during performances at the Opéra de Lille in December 2013) and the United States – as in 2012 with the New York Philharmonic. For this complete recording, Haïm opted for an intimate Baroque sound, without reducing the power and impact of this perennial seasonal favourite. “I made the choice of four British singers, with a single countertenor rather than two altos – the configuration used in 1752 at Covent Garden,” she explains.

“The vocal ornamentation, as sung by the outstanding solo quartet...sounds entirely stylish and idiomatic...Haïm’s choir for this work, too, comprises mainly native English-speakers, and it shows in their trenchant diction. Their Hallelujah is magnificent...One of the most dramatic and exciting Messiahs in recent memory.” (The Financial Times)

"This is definitely a Messiah worth listening to; lively and varied, it really is a new injection of life into an old favourite work and a recording that can stand shoulder-to-shoulder with any of the existing benchmarks." (Presto Classical)