Dunedin Consort & Players / John Butt GEORGE FRIDERIC HANDEL Messiah

For an infinitely more rewarding fresh look at Handel's most familiar music, look no further than the Dunedin Consort's performance of Handel's first version, premiered at Dublin in 1742. Bizarrely under-represented in concert and on disc, the Dublin score contains some fascinating music that Handel never reused, such as the substantial chorus 'Break forth into joy'. The exuberant direction by harpsichordist John Butt is meticulously stylish and utterly devoid of crassly pretentious egotism. The playing is unerringly spontaneous and dramatically integrated with singers who illustrate profound appreciation of text. Clare Wilkinson's 'He was despised' is most moving, Susan Hamilton effortlessly skips through a delicious 'Rejoice greatly', and bass Matthew Brook sings as if his life depends on it.

Butt bravely resolves to use the same forces Handel had at his disposal in Dublin, which means that the entire oratorio is sung by a dozen singers (with all soloists required to participate in the choruses, as Handel would have expected). Where this approach might risk worthy dull solos churned out by stalwart choir members, the Dunedin Consort's exemplary singers produce virtuoso choruses that are theatrically charged, splendidly poised and exquisitely blended. Old warhorses 'For unto us a child is born' and 'Surely he hath borne our griefs' are delightfully inspiring. Butt and the Dunedin Consort marry astute scholarship to sincere artistic expression and the result is comfortably the freshest, most natural, revelatory and transparently joyful Messiah I have heard for a very long time. (Gramophone)

Dunedin Consort & Players / John Butt GEORGE FRIDERIC HANDEL Acis & Galatea

The Dunedin Consort, led by John Butt, has moved into the niche of recording original or obscure versions of Baroque choral masterworks using forces as close as possible to those of the original performances. Its 2006 performance of the Dublin version of Messiah is one of the liveliest and refreshingly intimate recordings of the work, and won a Gramophone Award for Best Baroque Vocal Album of the year. Here the group turns its attention to a much earlier Handel work, the 1718 pastoral oratorio Acis & Galatea. Through ingenious musical detective work, Butt has reconstructed the most likely constitution of the ensemble that originally performed the piece while the composer was employed at Cannons House in Middlesex. Acis & Galatea is a work stronger on charm than substance, but its charms are considerable, from its lively and lyrical solos and ensembles to its inventive and clever orchestration. While Handel is not known for comedy, and this piece is in fact a tragedy (a rejected suitor kills his rival, but the heroine transforms her slain lover into a fountain, so things don't turn out too badly), the librettists and composer treat the subject lightly and with genuine wit. The villain is portrayed as a buffoon, and Butt and his singers play up the work's humor. Baritone Matthew Brook is vocally virtuosic and comically convincing as Polyphemus; his arias "O ruddier than the cherry" and "Cease to beauty to be suing" are among the highlights of the recording. As Galatea, soprano Susan Hamilton sings with purity and unmannered grace. Tenor Nicholas Mulroy as Acis has a somewhat covered sound that keeps him from being truly heroic. Thomas Hobbs, in the secondary role of role of Damon, has a light but bright and clarion tenor. The orchestra plays with exquisite finesse and expressiveness. Butt and his exemplary forces make a strong case for this odd little piece and give it a depth and coherence that make their performance stand out among the recorded versions. (Stephen Eddins )