The Irish Baroque Orchestra and Choir, under the masterful baton of conductor Peter Whelan, have delivered a truly remarkable and historically significant recording of Handel’s Messiah. This rendition, released on the esteemed Linn label, aims to transport listeners back to Dublin in 1742, the very city and year of the oratorio's celebrated premiere. Whelan's leadership is evident in a finely judged and agile period-instrument performance, notable for its compact yet powerful ensemble of only 13 singers. This choice underscores a profound commitment to historical accuracy, allowing for a clarity and intimacy often lost in larger modern interpretations.

While the annual return of Messiah to Dublin by the Irish Baroque Orchestra is a cherished tradition, this particular recording marks a unique and pivotal milestone: it is the first time an Irish ensemble has recorded the work using period instruments. The ambitious goal was to meticulously recreate the version heard at its inaugural performance at the Fishamble Street music hall. This was no ordinary event; it was a hot-ticket sensation, so highly anticipated that attendees were famously advised to modify their attire – ladies to forgo hoops in their skirts and gentlemen to leave their swords at home – to accommodate the anticipated crush of the exceptionally eager crowd. Such details truly bring the historical context to life, making this recording more than just music; it’s an auditory journey through time.

A Star-Studded Historical Recreation

One of the most compelling attractions of the original 1742 premiere was the magnetic presence of the scandal-hit contralto and actor Susannah Cibber, whose performances captivated audiences. In this new recording, her powerful legacy is vividly embodied by Helen Charlston, whose voice is described as firm, slightly metallic, and unflaggingly expressive. Charlston fearlessly takes on several arias that are more often sung by other voice types today, offering a gratifyingly substantial share that illuminates Cibber's original, groundbreaking contribution and vocal versatility.

The recording further distinguishes itself by including a less familiar, yet historically vital, duet-and-chorus version of "How Beautiful Are the Feet." This particular arrangement was specifically written for two countertenors from the Dublin cathedral choirs. Alexander Chance shines brilliantly in this and other sections, delivering a consistently buoyant and compelling performance. His talent extends to singing the two arias Handel later adapted for his star castrato in London, showcasing his remarkable range and vocal prowess. Adding another layer of brilliance to the stellar lineup, Hilary Cronin’s sweet-sounding soprano stands out among the solo voices, further enriching the ensemble's vibrant tapestry. This recording is not merely a performance; it’s a meticulously researched and passionately executed living historical document, inviting listeners to experience Handel’s immortal masterpiece as it was first intended, with all its original grandeur, unique vocal textures, and intimate emotional depth.