He That Dwelleth in Heaven / Thou Shalt Break Them feat. Levy Sekgapane - Handel's Messiah
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- Опубліковано 11 вер 2024
- "He That Dwelleth in Heaven / Thou Shalt Break Them with a Rod of Iron"
Cape Town Youth Choir & Junges Vokalensemble, Hannover (Dirigent: Prof Klaus-Jürgen Etzold).
Lyrics:
Psalms 2 : 4 He that dwelleth in heaven shall laugh them to scorn; the Lord shall have them in derision.
Psalms 2 : 9 Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter's vessel.
Live performance on 24 March 2018 at the Sarah Baartman Hall, UCT, Cape Town.
Soloists: Levy Sekgapane (Tenor), Magdalene Minnaar (Soprano), Minette du Toit-Pearce (Alto), Bongani Kubheka (Bass). Treble: Lorena Marais
CTYC Festival Orchestra.
Leader: Suzanne Martens
Harpsichord: Erik Dippenaar
Trumpet: Mike Blake
Conductor: Leon Starker
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Messiah (HWV 56) is an English-language oratorio composed in 1741 by George Frideric Handel, with a scriptural text compiled by Charles Jennens from the King James Bible, and from the Coverdale Psalter, the version of the Psalms included with the Book of Common Prayer. It was first performed in Dublin on 13 April 1742 and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music.
Handel's reputation in England, where he had lived since 1712, had been established through his compositions of Italian opera. He turned to English oratorio in the 1730s in response to changes in public taste; Messiah was his sixth work in this genre. Although its structure resembles that of opera, it is not in dramatic form; there are no impersonations of characters and no direct speech. Instead, Jennens's text is an extended reflection on Jesus as the Messiah called Christ. The text begins in Part I with prophecies by Isaiah and others, and moves to the annunciation to the shepherds, the only "scene" taken from the Gospels. In Part II, Handel concentrates on the Passion and ends with the "Hallelujah" chorus. In Part III he covers the resurrection of the dead and Christ's glorification in heaven.
Handel wrote Messiah for modest vocal and instrumental forces, with optional settings for many of the individual numbers. In the years after his death, the work was adapted for performance on a much larger scale, with giant orchestras and choirs. In other efforts to update it, its orchestration was revised and amplified by (among others) Mozart (Der Messias). In the late 20th and early 21st centuries the trend has been towards reproducing a greater fidelity to Handel's original intentions, although "big Messiah" productions continue to be mounted. A near-complete version was issued on 78 rpm discs in 1928; since then the work has been recorded many times. - Wikipedia
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I love the ring in his voice and he is IN character. nice ending!
He's just fantastic, that flexibility is wow.
Great melismatic treatments! I could tell right away from his vibrato in the beginning that his melismas were going to be fast. 😊
I wish this aria was longer!
Either you have the flexibility or you don't. Some of the greatest singers of all time wouldn't touch certain early music with a 10 foot pole.
Beautiful voice!
This is what we like. What a tenor.- Although, the tempi are .....
It does seem faster than I've usually heard it.
@@lizziesmusicmakingnot really
Great coloratura but he needs to work on his low notes. Somehow I could predict with a great degree of accuracy that the role Tristan has never been nor never will be on his resume.
Admire his range
But he is good, init?
What a bitter comment. All of the low notes in this piece are on unaccented syllables, and should therefore be softer. Also, why should Wagner’s Tristan need to be on any singer’s resume? This video is of Handel, and you are weird.
@@JameSongMakerThat’s what I was thinking! How would you jump from Händel to Wagner so quickly?
@@jasonpandelidis9491to sound like an asshole