This enjoyable performance of Haydn’s supreme choral masterpiece was recorded at the Lucerne Festival of 1992. It takes place in the appropriate setting of an evocative baroque church, which, as far as I can ascertain, is not identified either on screen or in the (in- adequate) supporting booklet. The small choir sings with attentive enthusiasm, and is weak only in the tenor department. The Scottish Chamber Orchestra players cover themselves in glory both as an ensemble and individually and, as ever, they are adept at imposing period practice on modern instruments. Schreier’s direction is relaxed and benevolent, yet his keen ear for rhythmic precision and flexibility in phrasing is constantly felt.
The soloists are (appropriately enough, given the provenance of the performance) all Swiss. The veteran Mathis remains a paragon of classical style, phrasing her arias and contributions to the ensembles with firm tone and finely honed phrasing. Pregardien’s liquid, silvery tenor and sensitive way with words is exactly what the tenor part calls for. The young Pape’s sonorous bass and confident, long-breathed delivery are ideal in every way; he and Mathis make an appealing Adam and Eve in Part 3.
The video direction is discreet, and prompt in homing in on the right performer at the right time. The sound picture is as spacious and well defined as one expects from the new medium, which – of course – allows us to hear the whole, long work without a break.'