The transportation began as the first notes were played, and throughout the piece the crowd remained entirely enraptured -- and rightfully so. It is by no means an accident that this piece is as respected or as cherished as it is, and the fact that Handel's work had been re-arranged from the original to include a full modern orchestra did not detract from or degrade the original beauty or clarity of the piece in the slightest. Though it would be impossible to compare the original arrangement of the Messiah to the one played in concert that night without hearing them both in the same hall, and with the same basic surrounding of such a rapt and appreciative audience, one might even go so far as to say that the piece is dramatically improved by the larger and fuller sound that the orchestra provides.
The singing was also quite powerful and quite beautiful, and the international mix of these singers (and of the orchestra) was another fitting tribute to Handel's multinational background. The blend of voices and the range of some of the singers was literally breathtaking at moments, and the fact that one could feel the rest of the audience holding their breath at the same time made the sense of shared inspiration instilled by the music itself that much stronger. When it comes to clarity and richness of tone, it is difficult to imagine a more perfect sound than these voices in this hall.
As has been noted by several scholars and aficionados of Handel's and the Messiah in particular, the words that come out of the singers' mouths hardly seemed to matter given the beauty of the notes themselves and the harmonies they formed with each other and with...
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