Der Messias is the German version of Handel’s Messiah as arranged by Mozart. The translation dates from 1775 and is by Klopstock and Ebeling drawing heavily on the Lutheran Bible. My German isn’t good enough to say how “archaic” it sounds to a modern German speaker but it certainly seems to be quite singable. In any event it was presented in Salzburg during this year’s Mozartwoche in a staged version by Robert Wilson. The arrangement adds a substantial wind section and changes the voice parts in places. For example Doch wer mag entraten (But who may abide) is given to the bass rather than one of the high voices.
When I reviewed the 1997 Zurich production of La Belle Helène about a week ago the commentariat was strong in the belief that I should take a look at the 2000 Paris-Châtelet production. So I did and they were right. It’s excellent. It also reinforced my belief that operetta; English, French or German, works best when it’s taken seriously by which I mean using the best available singer/actors, a good director and a top notch orchestra, chorus and conductor. All of these are in place in this Paris production. Continue reading →