Wednesday, April 29, 2020
God grant me the serenity to accept the things I cannot change, courage to change the things I can, and the wisdom to know the difference. Living one day at a time; enjoying one moment at a time; accepting hardship as the pathway to peace. Taking, as He did, this sinful world as it is, not as I would have it; trusting that He will make all things right if I surrender to His will. That I may be reasonably happy in this life, and supremely happy with Him forever in the next. -- Reinhold Niebur
Tuesday, April 28, 2020
Monday, April 27, 2020
"If the doctrine of the Trinity were true, and required to believe upon for salvation itself, it may be pointed out that it is utterly unique in the sense that all other essential Christian doctrines are taught plainly in the Bible, whereas the Trinity is somehow derived from "all of what the Bible teaches." In this regard, the Trinity (and associated concepts) would prove to be the only essential though non-articulated, unannounced doctrine of the Christian faith, based on a consideration of Scripture. But as adamant and forceful as Evangelical scholars have expressed themselves with respect to the centrality of the Trinity and the absolute necessity of its acceptance, the Bible itself never identifies the one God as the Trinity, but as "the Father"; nor does there exist one example in all of the Scriptures where the term "God" or the name "YHWH" can be proven to represent the entire "tri-unity of persons" of the "Godhead." Any kind of attempt would be an exercise in speculations at best. Unfortunately, defenders of Trinitarian dogma have failed to fully come to terms with the implications of these facts. Consider carefully: If the doctrine of the Trinity is true and essential to Christianity as is claimed, the Bible itself (the very documents upon which Christianity is based) never defines or proclaims who or what the one God is according to his (or its?) most basic, fundamental characterization -- the very meaning of "God" in its most distinguishing sense. This is altogether incredible." --Patrick Navas
Divine Truth or Human Tradition?, Author House, 2007, pp. 58-59
Divine Truth or Human Tradition?, Author House, 2007, pp. 58-59
Sunday, April 26, 2020
The Doctor: I just wondered, between you and me—in a hundred words—where do you think Van Gogh rates in the history of art?
Dr. Black: Well. Um, big question, um, but to me, Van Gogh is the finest painter of them all. Certainly the most popular great painter of all time. The most beloved. His command of color, the most magnificent. He transformed the pain of his tormented life into ecstatic beauty. Pain is easy to portray but to use your passion and pain to portray the ecstasy and joy and magnificence of our world. No one had ever done it before. Perhaps no one ever will again. To my mind, that strange wild man who roamed the fields of Provence, was not only the world’s greatest artist but also one of the greatest men who ever lived.
Dr. Black: Well. Um, big question, um, but to me, Van Gogh is the finest painter of them all. Certainly the most popular great painter of all time. The most beloved. His command of color, the most magnificent. He transformed the pain of his tormented life into ecstatic beauty. Pain is easy to portray but to use your passion and pain to portray the ecstasy and joy and magnificence of our world. No one had ever done it before. Perhaps no one ever will again. To my mind, that strange wild man who roamed the fields of Provence, was not only the world’s greatest artist but also one of the greatest men who ever lived.
Saturday, April 25, 2020
“There is a tradition in the early church, however, that his suicide was based not on despair but on hope. If God was just, then he knew there was no question where he would be heading as soon as he’d breathed his last. Furthermore, if God was also merciful, he knew there was no question either that in a last-ditch effort to save the souls of the damned as God’s son, Jesus would be down there too. Thus the way Judas figured it, hell might be the last chance he’d have of making it to heaven, so to get there as soon as possible, he tied the rope around his neck and kicked away the stool. Who knows?
“In any case, it’s a scene to conjure with. Once again they met in the shadows, the two old friends, both of them a little worse for wear after all that had happened, only this time it was Jesus who was the one to give the kiss, and this time it wasn’t the kiss of death that was given.”
– Rev. Frederick Buechner, *Peculiar Treasures*, p. 83
“In any case, it’s a scene to conjure with. Once again they met in the shadows, the two old friends, both of them a little worse for wear after all that had happened, only this time it was Jesus who was the one to give the kiss, and this time it wasn’t the kiss of death that was given.”
– Rev. Frederick Buechner, *Peculiar Treasures*, p. 83
Friday, April 24, 2020
"Guirgis’s The Last Days of Judas Iscariot opens with a monologue from Judas’s mother,
“Henrietta,” commenting on the world’s judgment of her son:
On the day of my son’s birth I was infused with a love beyond all measure and
understanding … the world tells me that God is in heaven and that my son is in hell. I tell
the world the one true thing I know: If my son is in hell, then there is no heaven—
because if my son sits in hell, there is no God [(p. 8)]."
(2007, R.C. Miessler, "Our Patron Saint: Judas Iscariot, Forgiveness, and Christian Imagination", p.12)
“Henrietta,” commenting on the world’s judgment of her son:
On the day of my son’s birth I was infused with a love beyond all measure and
understanding … the world tells me that God is in heaven and that my son is in hell. I tell
the world the one true thing I know: If my son is in hell, then there is no heaven—
because if my son sits in hell, there is no God [(p. 8)]."
(2007, R.C. Miessler, "Our Patron Saint: Judas Iscariot, Forgiveness, and Christian Imagination", p.12)
There is an old legend that after his death Judas found himself at the bottom of a deep and slimy pit. For thousands of years he wept his repentance, and when the tears were finally spent he looked up and saw, way, way up, a tiny glimmer of light. After he had contemplated it for another thousand years or so, he began to try to climb up towards it. The walls of the pit were dank and slimy, and he kept slipping back down. Finally, after great effort, he neared the top, and then he slipped and fell all the way back down. It took him many years to recover, all the time weeping bitter tears of grief and repentance, and then he started to climb up again. After many more falls and efforts and failures he reached the top and dragged himself into an upper room with twelve people seated around a table. “We’ve been waiting for you, Judas,” Jesus said. “We couldn’t begin till you came.”
(Madeleine L’Engle, The Rock That is Higher, p. 268)
(Madeleine L’Engle, The Rock That is Higher, p. 268)
Friday, April 17, 2020
Tuesday, April 14, 2020
“There is an old legend that after his death Judas found himself at the bottom of a deep and slimy pit. For thousands of years he wept his repentance, and when the tears were finally spent he looked up and saw, way, way up, a tiny glimmer of light. After he had contemplated it for another thousand years or so, he began to try to climb up towards it. The walls of the pit were dank and slimy, and he kept slipping back down. Finally, after great effort, he neared the top, and then he slipped and fell all the way back down. It took him many years to recover, all the time weeping bitter tears of grief and repentance, and then he started to climb up again. After many more falls and efforts and failures he reached the top and dragged himself into an upper room with twelve people seated around a table. ‘We’ve been waiting for you, Judas,’ Jesus said. ‘We couldn’t begin till you came.’
“I heard my son-in-law, Alan, tell this story at a clergy conference. The story moved me deeply. I was even more deeply struck when I discovered that it was a story that offended many of the priests and ministers there. I was horrified at their offense. Would they find me, too, unforgivable?
“But God, the Good Book tells us, is no respecter of persons, and the happy ending isn’t promised to an exclusive club. It isn’t — face it — only for Baptists or Presbyterians or Episcopalians. What God began, God will not abandon. He who began a good work in you will carry it on to completion. God loves everyone, sings the psalmist. What God has named will live forever, Alleluja!
“The happy ending has never been easy to believe in. After the crucifixion the defeated little band of disciples had no hope, no expectation of resurrection. Everything they believed in had died on the cross with Jesus. The world was right, and they had been wrong. Even when the women told the disciples that Jesus had left the stone-sealed tomb, the disciples found it nearly impossible to believe that it was not all over. The truth was it was just beginning.”
– Madeleine L’Engle, *The Rock That Is Higher*, pp. 312-313.
“I heard my son-in-law, Alan, tell this story at a clergy conference. The story moved me deeply. I was even more deeply struck when I discovered that it was a story that offended many of the priests and ministers there. I was horrified at their offense. Would they find me, too, unforgivable?
“But God, the Good Book tells us, is no respecter of persons, and the happy ending isn’t promised to an exclusive club. It isn’t — face it — only for Baptists or Presbyterians or Episcopalians. What God began, God will not abandon. He who began a good work in you will carry it on to completion. God loves everyone, sings the psalmist. What God has named will live forever, Alleluja!
“The happy ending has never been easy to believe in. After the crucifixion the defeated little band of disciples had no hope, no expectation of resurrection. Everything they believed in had died on the cross with Jesus. The world was right, and they had been wrong. Even when the women told the disciples that Jesus had left the stone-sealed tomb, the disciples found it nearly impossible to believe that it was not all over. The truth was it was just beginning.”
– Madeleine L’Engle, *The Rock That Is Higher*, pp. 312-313.
Friday, April 10, 2020
“Wherever I go, it will be well with me: for even here it was not the place that made me well off, but my judgements, and these I shall carry away with me, for no one can rob me of them; these alone are my own and cannot be taken away, with these I am content wherever I am and whatever I do.”
Discourses of Epictetus 4.7.14 [Matheson Trans.]
Discourses of Epictetus 4.7.14 [Matheson Trans.]
The Via Dolorosa and the Empty Tombs
From January 27 through February 4, 1997, my grandmother and I visited the Holy Land. I’ve never really said much about this and later I will. Today, I want to reflect on the Via Dolorosa, “The Way of Suffering,” and the empty tomb(s). The street is pretty narrow, lines with shops, and luckily was not very crowded. It was not Friday when large groups thronged to the way carrying their crosses. Jesus would not have had to carry a 300 pound cross because it was Roman SOP for the crucified to just carry their own cross beams to the vertical beam already in place. Of course that doesn’t mean the cross beams were not torture - they weighed 100 pounds - and on a back and shoulders cut to ribbons … Jesus walked 650 yards, 594.36 meters, 1950 feet along the Via Dolorosa.
As you walk you stop at 14 stations--the literal Stations of the Cross. Nine stations are directly based on scripture, five on tradition. Stations 10-14 are inside the Church of the Holy Sepulchre which is simply amazing. To make it even more confusing is the “traditional”’ path grandma and I are taking was not formalized till the 19th century. And there is still talk the route is wrong. It would be cool to know the exact path is. But it has been over 2000 years and things like tradition and faith are difficult to change. And does it really matter. I don’t think so.
Walking on the street, breathing in the smells of exotic spices, listening to the sounds of the vendors, people praying, and the call of the muezzin, one easily forgets the modern trappings around them and sees what could have been. My grandma and I walked in silence, pausing at each station, and then entered the Church of the Holy Sepulchre. Several religious groups own property in the church: Roman Catholic, Greek Orthodox, Armenian Apostolic, Coptic Orthodox, Syriac Orthodox, and Ethiopian Orthodox. My first impression was one of total awe then confusion--where did one go? It was pretty overwhelming, in a good way. But a minister saw my deer in the headlights face and helped me. After touching Golgotha, I went to the tomb, the aedicula, entered, and lit a candle. My brain turned off and I just went through the motions walking out. I’ve put a link to a good video since I can’t really describe how it looks in there.
The last night of the tour we went to the Garden Tomb, the tomb that Protestants seem to prefer. There was no one there except our group. It was lightly snowing and very quiet. My grandma was really looking forward to being here. As we walked to the tomb I kept looking over at my 70 year old grandma and I swear she was glowing from within; she was so beautiful. You could see the magnitude of her faith; it was like a lighthouse on steroids. And then He stepped in and the radiance became overpowering.
The buildings we passed and the paving stones we walked on were not around when Jesus was alive. The real street is 30 feet down and you would need a connection in the Israel Department of Antiquities to see it. The current path of the Via Dolorosa wasn’t firmly decided till the 19th century and may be wrong. The Garden Tomb is too old to be from the days of Jesus. Did any of this matter? If you are an archaeologist, sure. But to those of faith it doesn’t matter. We were there to experience what millions of other pilgrims had--to follow the way Jesus went to his death willingly for the belief that we all must help those who need our help. It wasn’t an exercise in logic; it was to strengthen our faith; to empower us so we could fight the good fight, to care for the poor, the week, those who are in need; and that giving one's life for another, expecting nothing in return, is not only the way, but the thing a follower of Jesus does. And in the end the tomb was empty. "He is not here". Isn't that answer enough?
As you walk you stop at 14 stations--the literal Stations of the Cross. Nine stations are directly based on scripture, five on tradition. Stations 10-14 are inside the Church of the Holy Sepulchre which is simply amazing. To make it even more confusing is the “traditional”’ path grandma and I are taking was not formalized till the 19th century. And there is still talk the route is wrong. It would be cool to know the exact path is. But it has been over 2000 years and things like tradition and faith are difficult to change. And does it really matter. I don’t think so.
Walking on the street, breathing in the smells of exotic spices, listening to the sounds of the vendors, people praying, and the call of the muezzin, one easily forgets the modern trappings around them and sees what could have been. My grandma and I walked in silence, pausing at each station, and then entered the Church of the Holy Sepulchre. Several religious groups own property in the church: Roman Catholic, Greek Orthodox, Armenian Apostolic, Coptic Orthodox, Syriac Orthodox, and Ethiopian Orthodox. My first impression was one of total awe then confusion--where did one go? It was pretty overwhelming, in a good way. But a minister saw my deer in the headlights face and helped me. After touching Golgotha, I went to the tomb, the aedicula, entered, and lit a candle. My brain turned off and I just went through the motions walking out. I’ve put a link to a good video since I can’t really describe how it looks in there.
The last night of the tour we went to the Garden Tomb, the tomb that Protestants seem to prefer. There was no one there except our group. It was lightly snowing and very quiet. My grandma was really looking forward to being here. As we walked to the tomb I kept looking over at my 70 year old grandma and I swear she was glowing from within; she was so beautiful. You could see the magnitude of her faith; it was like a lighthouse on steroids. And then He stepped in and the radiance became overpowering.
The buildings we passed and the paving stones we walked on were not around when Jesus was alive. The real street is 30 feet down and you would need a connection in the Israel Department of Antiquities to see it. The current path of the Via Dolorosa wasn’t firmly decided till the 19th century and may be wrong. The Garden Tomb is too old to be from the days of Jesus. Did any of this matter? If you are an archaeologist, sure. But to those of faith it doesn’t matter. We were there to experience what millions of other pilgrims had--to follow the way Jesus went to his death willingly for the belief that we all must help those who need our help. It wasn’t an exercise in logic; it was to strengthen our faith; to empower us so we could fight the good fight, to care for the poor, the week, those who are in need; and that giving one's life for another, expecting nothing in return, is not only the way, but the thing a follower of Jesus does. And in the end the tomb was empty. "He is not here". Isn't that answer enough?
Jesus Christ Superstar and Me
Why would a good charismatic pentecostal lad be King Herod in the musical Jesus Christ Superstar and be nearly naked? Typecasting-- I was the only fat weird tenor in choir. [Let me digress for a sec. JC Superstar has taken so much unnecessary heat because it does not show the resurrection. It wouldn’t since it tells Jesus’ story from the viewpoint of Judas, and imho since he dies before Jesus rose again, Judas wouldn’t have seen it, so it wouldn’t be in this musical. At least that is my take.] But the musical was not something I felt I should be getting involved in. Of course, never having heard it, I just went by what folks at church told me. Others had stronger feelings against it. So we had a minister come in to discuss issues related to it. I would say that this discussion was pivotal in allowing me to question my religious thoughts. So King Herod I would be. Little did I know how much of a narcissistic, grandiose, piece of poop I was going to have to pretend to be. “Herod’s Song” has the most disrespectful, sacrilegious, and antithetical set of lyrics in regards to Jesus a Christion can utter. The final stanza includes the words: “You’re a joke, You’re not the Lord, You’re nothing but a fraud.” At least in “Superstar” Judas is earnestly questioning Jesus where it all seems to have gone wrong. King Herod is a pompous dick. Tough part for a newly awoken Assembly of God kid. But this musical sent me on a search that continues to this day. And I did ultimately have fun.
FAQ | Jesus Christ Superstar Zone
FAQ | Jesus Christ Superstar Zone
Sunday, April 05, 2020
Handel's Messiah
It’s the Fifth Sunday of Holy Lent, and I was reflecting on a soundtrack for this time. There are tons of musical pieces based on the life of Jesus. The greatest has to be imho Handel’s Messiah. It makes its appearance most often at Christmas with only the first two parts played whilst leaving out the third part with some of the most glorious music and the best double chorus at the end Worthy is the Lamb/Amen.
I admit my bias because I am blessed to have performed Messiah playing the cello multiple times and singing once in a mega-choir with the Cedar Rapid Symphony during college. Musicians also get that tingle up their back at times playing during a concert. And I tell you that happens big time during the playing and singing of this piece.
In addition, an adult night class also had the opportunity to join me on a journey into this oratorio. Yes, they survived. :-) You tell them the story of how Handel wrote Messiah in 24 days in Dublin; Dublin loved it, London not; Handel originally used 31 instruments and 24 singers or thereabouts, and some modern performances use choirs of 3,500 people; and so on. Then you get into what the scriptures Handel used. What did the original Greek and Hebrew say? Is it “young woman or “virgin?” Is Jesus being foretold in the Old Testament texts? We had some awesome discussions.
Then the music. I listened to 20 or so versions of Messiah that Handel experts said were the best performances. They ranged from folks using period instruments, instruments that are made to be like those that existed during Handel’s time, orchestras the size Handel used, performances based on different versions, to big orchestras. I played various choruses - And the Glory of the Lord, And with His Stripes, King of Glory, And He shall purify, His yoke is easy, All We like Sheep, Halleluiah, Worthy Is the Lamb, and Amen - and compared versions. So what was the best? Whatever Messiah the individual person in class liked listening to. “Smaller” ensembles allowed one to hear all of the parts pretty clearly, were probably more what Handel intended, and how people in the Baroque interacted with music and the divine. “Larger” groups of musicians seem more “modern”, lush, and fill the edges with sound and make our images of the divine “bigger” or at least more massive; it doesn’t take much to turn it up louder :-). This doesn’t mean one is better than the other; just what you want. And what really does small and large mean anyway? Does it matter?
As we finished the class, I reminded my students to not forget Part Three. Yes, Hallelujah. But there is much more Messiah has to offer. Much more the Messiah did after the tomb if you are religious. The Amen--not an “it is finished”, not a “the end”. But, an acknowledgement, an acceptance of what has gone on before, leaving the path before one open to living and experiencing the joys discovered and the grace received. Messiah is a sheer masterpiece for the soul.
Messiah Wikipedia
https://en.wikipedia.org/wiki/Messiah_(Handel) (a great place to start)
Messiah Wiki
https://wiki.ccarh.org/wiki/Messiah
The Glorious History of Handel’s Messiah
A musical rite of the holiday season, the Baroque-era oratorio still awes listeners 250 years after the composer’s death
https://www.smithsonianmag.com/arts-culture/the-glorious-history-of-handels-messiah-148168540/
Handel Institute
Messiah (HWV 56) "A Sacred Oratorio"
Composed: London 1741—2 · First Performed: Dublin 1742
http://gfhandel.org/handel/messiah.html
5 Things You Might Not Know About Handel's Messiah
https://www.bsomusic.org/stories/5-things-you-might-not-know-about-handels-messiah/
10 Things You (Probably) Didn't Know About Handel's Messiah
https://oae.co.uk/10-things-you-probably-didnt-know-about-handels-messiah/
12 Reasons to Listen to Handel’s “Messiah.” If You Haven’t Listened to Handel’s Oratorio Much, Here’s Why You Should Start.
https://www.wordonfire.org/resources/blog/12-reasons-to-listen-to-handels-messiah/5969/
Handel’s Many Messiahs
http://danagioia.com/essays/film-and-music/handels-many-messiahs/
The best recordings of Handel’s Messiah
We name the recordings of this choral masterpiece that should have everyone shouting ‘Hallelujah!’
http://www.classical-music.com/article/best-recordings-handel-s-messiah
Messiah The Complete Guide
https://messiah-guide.com/index.html
Music Scores
https://imslp.org/wiki/Messiah,_HWV_56_(Handel,_George_Frideric)
Handel’s ‘Messiah’: Masterpiece Guide To The Great Oratorio
Featuring links to full version by Trevor Pinnock with the English Concert and Choir (I like Pinnock)
https://www.udiscovermusic.com/classical-features/handel-messiah-masterpiece-guide/
Handel Messiah, by Sir Colin Davis & London Symphony Orchestra 1966 (one of the biggies)
https://www.youtube.com/watch?v=r68P8TBWiIQ
Handel's Messiah Live from the Sydney Opera House (has some wow moments)
https://www.youtube.com/watch?v=bR0cEOTpYSk
G. F. Handel: Messiah HWV 56 VĂCLAV LUKS, Collegium 1704, Collegium Vocale 1704
(very nice small ensemble/period instrumentation and the conductor is a joy to watch)
https://www.youtube.com/watch?v=JH3T6YwwU9s
George F. Handel - Messiah - Staged version [complete] (interesting)
https://www.youtube.com/watch?v=3LsZpitl-cI
I admit my bias because I am blessed to have performed Messiah playing the cello multiple times and singing once in a mega-choir with the Cedar Rapid Symphony during college. Musicians also get that tingle up their back at times playing during a concert. And I tell you that happens big time during the playing and singing of this piece.
In addition, an adult night class also had the opportunity to join me on a journey into this oratorio. Yes, they survived. :-) You tell them the story of how Handel wrote Messiah in 24 days in Dublin; Dublin loved it, London not; Handel originally used 31 instruments and 24 singers or thereabouts, and some modern performances use choirs of 3,500 people; and so on. Then you get into what the scriptures Handel used. What did the original Greek and Hebrew say? Is it “young woman or “virgin?” Is Jesus being foretold in the Old Testament texts? We had some awesome discussions.
Then the music. I listened to 20 or so versions of Messiah that Handel experts said were the best performances. They ranged from folks using period instruments, instruments that are made to be like those that existed during Handel’s time, orchestras the size Handel used, performances based on different versions, to big orchestras. I played various choruses - And the Glory of the Lord, And with His Stripes, King of Glory, And He shall purify, His yoke is easy, All We like Sheep, Halleluiah, Worthy Is the Lamb, and Amen - and compared versions. So what was the best? Whatever Messiah the individual person in class liked listening to. “Smaller” ensembles allowed one to hear all of the parts pretty clearly, were probably more what Handel intended, and how people in the Baroque interacted with music and the divine. “Larger” groups of musicians seem more “modern”, lush, and fill the edges with sound and make our images of the divine “bigger” or at least more massive; it doesn’t take much to turn it up louder :-). This doesn’t mean one is better than the other; just what you want. And what really does small and large mean anyway? Does it matter?
As we finished the class, I reminded my students to not forget Part Three. Yes, Hallelujah. But there is much more Messiah has to offer. Much more the Messiah did after the tomb if you are religious. The Amen--not an “it is finished”, not a “the end”. But, an acknowledgement, an acceptance of what has gone on before, leaving the path before one open to living and experiencing the joys discovered and the grace received. Messiah is a sheer masterpiece for the soul.
Messiah Wikipedia
https://en.wikipedia.org/wiki/Messiah_(Handel) (a great place to start)
Messiah Wiki
https://wiki.ccarh.org/wiki/Messiah
The Glorious History of Handel’s Messiah
A musical rite of the holiday season, the Baroque-era oratorio still awes listeners 250 years after the composer’s death
https://www.smithsonianmag.com/arts-culture/the-glorious-history-of-handels-messiah-148168540/
Handel Institute
Messiah (HWV 56) "A Sacred Oratorio"
Composed: London 1741—2 · First Performed: Dublin 1742
http://gfhandel.org/handel/messiah.html
5 Things You Might Not Know About Handel's Messiah
https://www.bsomusic.org/stories/5-things-you-might-not-know-about-handels-messiah/
10 Things You (Probably) Didn't Know About Handel's Messiah
https://oae.co.uk/10-things-you-probably-didnt-know-about-handels-messiah/
12 Reasons to Listen to Handel’s “Messiah.” If You Haven’t Listened to Handel’s Oratorio Much, Here’s Why You Should Start.
https://www.wordonfire.org/resources/blog/12-reasons-to-listen-to-handels-messiah/5969/
Handel’s Many Messiahs
http://danagioia.com/essays/film-and-music/handels-many-messiahs/
The best recordings of Handel’s Messiah
We name the recordings of this choral masterpiece that should have everyone shouting ‘Hallelujah!’
http://www.classical-music.com/article/best-recordings-handel-s-messiah
Messiah The Complete Guide
https://messiah-guide.com/index.html
Music Scores
https://imslp.org/wiki/Messiah,_HWV_56_(Handel,_George_Frideric)
Handel’s ‘Messiah’: Masterpiece Guide To The Great Oratorio
Featuring links to full version by Trevor Pinnock with the English Concert and Choir (I like Pinnock)
https://www.udiscovermusic.com/classical-features/handel-messiah-masterpiece-guide/
Handel Messiah, by Sir Colin Davis & London Symphony Orchestra 1966 (one of the biggies)
https://www.youtube.com/watch?v=r68P8TBWiIQ
Handel's Messiah Live from the Sydney Opera House (has some wow moments)
https://www.youtube.com/watch?v=bR0cEOTpYSk
G. F. Handel: Messiah HWV 56 VĂCLAV LUKS, Collegium 1704, Collegium Vocale 1704
(very nice small ensemble/period instrumentation and the conductor is a joy to watch)
https://www.youtube.com/watch?v=JH3T6YwwU9s
George F. Handel - Messiah - Staged version [complete] (interesting)
https://www.youtube.com/watch?v=3LsZpitl-cI
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