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Handel/ Mozart: Der Messias
Elena Tsallagova (soprano), Wiebke Lehmkuhl (mezzo-soprano), Richard Croft (tenor), José Coca Loza (bass), Alexis Fousekis, Philharmonia Chor Wien, Les Musiciens Du Louvre, Mark Minkowski, Robert Wilson
On the plus side, Wilson shows a definite response to the music.Yet there’s always a tendency for whatever work he stages to become an accompaniment to a fussy and (in terms of significance)...
Handel/ Mozart: Der Messias
Elena Tsallagova (soprano), Wiebke Lehmkuhl (mezzo-soprano), Richard Croft (tenor), José Coca Loza (bass), Alexis Fousekis, Philharmonia Chor Wien, Les Musiciens Du Louvre, Mark Minkowski, Robert Wilson
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On the plus side, Wilson shows a definite response to the music.Yet there’s always a tendency for whatever work he stages to become an accompaniment to a fussy and (in terms of significance)...
About
Known as a creator of astonishing images, stage director and visual artist Robert Wilson delivers a magnificent production of Mozart’s adaption of Handel’s Messias. Mozart was commissioned by Gottfried van Swieten to modernise the score fifty years after Handel’s popular composition (1742), mainly by arranging the wind parts and partially re-composing them. With Marc Minkowski a conductor has been engaged who understands perfectly how to combine baroque style with the tonal possibilities of an orchestra of the classical period like the Musiciens du Louvre. The excellent soloist quartet with Elena Tsallagova, Wiebke Lehmkuhl, Richard Croft and José Coca Loza merges perfectly into Wilson’s enormous flood of images. “A complete artwork”, praises Opernglas; “stunningly beautiful” (BR Klassik); “A stellar moment for the music” (orf.at); “Timelessly beautiful” Süddeutsche Zeitung
Contents and tracklist
- Elena Tsallagova (soprano), Wiebke Lehmkuhl (mezzo-soprano), Richard Croft (tenor), José Coca Loza (bass)
- Philharmonia Chor Wien, Les Musiciens du Louvre
- Marc Minkowski
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Awards and reviews
May 2021
On the plus side, Wilson shows a definite response to the music.Yet there’s always a tendency for whatever work he stages to become an accompaniment to a fussy and (in terms of significance) largely inscrutable lighting plot. Minkowski’s conducting is rhythmically precise and his period orchestra alert, though the fortepiano is over-prominent.