In his 1751 reconstruction Higginbottom used boy trebles not only for the choruses but for the soprano arias we well. Rejoice greatly is, however, allotted to the solo tenor, Toby Spence, who sings very pleasingly throughout. Higginbottom also uses the period-instrument Academy of Ancient Music, now producing orchestra sound of great transparency and refinement, and also the sweetest of string sounds. However, almost certainly, David Blackadder uses a bold modern instrument to play the obbligato in The Trumpet shall sound, strongly sung by Eamonn Dougan. Tempi are lively and the whole performance goes with a swing, with warmth and vitality the keynotes. For unto us a child is born sparkles, but Hallelujah has all the weigh one could want. The solo trebles cover themselves with glory. Otta Jones is most engaging in How beautiful are the feet and Henry Jenkinson, who is allotted I know that my Redeemer liveth, sings with the utmost simplicity and purity. It is the male alto Iestyn Davies, however, who is very touching in He was despised, decorating the da capo reprise very gently. Throughout the performance, which is superbly recorded, the feeling is one of freshness, and this recording has the strongest recommendation, quite irrespective of price.

Although this all-English "Messiah" comes at a budget price (it's listed at $17.99), it's anything but bargain basement. And even in a marketplace groaning with versions of Handel's work, this is the only re-creation of his 1751 version of the score for occasions featuring both a boy choir and some boys among the soloists. Moreover, the performances are wonderfully fresh; the Academy of Ancient Music is a first-rate period-instrument orchestra, and the boys' voices -- schooled in the peerless English choral tradition -- lend a special holiday flavor to the sound. Among the fine soloists, countertenor Iestyn Davies sings a textured and touching "He Was Despised." One could pay far more for a "Messiah" and be much less delighted.

Outstanding choirs but it's back to the start for a really fresh, joyful Messiah

Taking his cue from Handel's 1751 performances, Edward Higginbottom assigns all the soprano solos to some talented boy trebles from the Choir of New College, Oxford. Otta Jones's contribution to "He shall feed his flock" and Henry Jenkinson's "I know that my redeemer liveth" are lovely testaments to Higginbottom's crusading 30 years with his choir. At best, Higginbottom's choir produces some marvellous moments ("All we like sheep", and one of the finest "Amen" fugues on disc). Higginbottom's direction does not boil with dramatic intensity but instead simmers along with patience, elegant judgement and articulate tastefulness.

Not to be too doctrinaire about this no-�Messiah� business, a couple of new recordings of that Handel masterpiece are worth attention.

Mr. Higginbottom, himself questioning the need for yet another �Messiah� recording in a booklet note, justifies his with the claim that it �provides the only modern account of Handel�s unique London performances in April and May 1751.� The distinguishing feature of those performances was, for whatever reason, the use of boy trebles in the soprano arias as well as in the choruses, though none of that would matter if this were not a fine recording on many other counts.

It's more than 40 years since Colin Davis (for Philips) and Charles Mackerras (for EMI) recorded stunning versions of Handel's Messiah with their musicologically-inspired approaches to style and substance that turned out to be the leading edge of an industry-wide musical revolution in Baroque music.

While Davis' recording, swift and packing a tremendous choral punch, still has considerable merit, recent recordings by Nikolaus Harnoncourt and Paul McCreesh have been leading a merry band of contenders for the best recorded Messiah. None, however, has quite the combination of positive factors going for it that this new version from Naxos does.