* 1742 – George Frideric Handel's oratorio Messiah makes its world-premiere in Dublin, Ireland.

This translation of go ' el in Job 19: 25-26 as " Redeemer " has been made famous by its use in Handel's Messiah, the Air I know that my Redeemer liveth, and in the lectionary during the Easter season.

Not the Messiah is a spoof of Handel's oratorio Messiah.

April 13: George Frideric Handel | Handel's Messiah ( Handel ) | Messiah.

* April 13 – George Frideric Handel's oratorio The Messiah is first performed in Dublin, Ireland.

The pinnacle of the oratorio is found in George Frideric Handel's works, notably Messiah and Israel in Egypt.

Some of the alto parts of Handel's Messiah were first sung by a castrato.

The peak of its season is the Lincoln Christmas Market, accompanied by a massive annual production of Handel's Messiah.

In 1940 he made a legendary recording of the tenor arias from Handel's Messiah.

Either Gluck or Lobkowitz bought a copy of Handel's Messiah.

* Library of Congress ' National Recording Registry — Handel's Messiah ( 1959 )

Since its first recording in 1910, the choir has earned five gold albums ( two in 1963-The Lord's Prayer and Handel's Messiah, one in 1979-The Joy of Christmas, and two in 1985-The Mormon Tabernacle Choir Sings Christmas Carols and Joy to the World ) and two platinum albums ( in 1991-Hallmark Christmas: Carols of Christmas and 1992-Hallmark Christmas: Celebrate Christmas !).

He conducted two complete performances of Handel's Messiah, a rare event at the time.

But an event occurred that provided him with a scenario ideally fitted to his conception of a work both contemporary and in the grand choral tradition of Bach's Passions and Handel's Messiah.

In the late 20th and early 21st centuries the trend has been towards authenticity ; most contemporary performances show a greater fidelity towards Handel's original intentions, although " big Messiah " productions continue to be mounted.

In contrast with most of Handel's oratorios, the singers in Messiah do not assume dramatic roles, there is no single, dominant narrative voice, and very little use is made of quoted speech.

In fact, as Burrows points out, many of Handel's operas, of comparable length and structure to Messiah, were composed within similar timescales between theatrical seasons.

The first published score of Messiah was issued in 1767, eight years after Handel's death, though this was based on relatively early manuscripts and included none of Handel's later revisions.

He organised a second performance of Messiah on 3 June, which was announced as " the last Performance of Mr Handel's during his Stay in this Kingdom ".

In this second Messiah, which was for Handel's private benefit, Cibber reprised her role from the first performance, though Avoglio may have been replaced by a Mrs Maclaine ; details of other performers are not recorded.

The 1749 revival at Covent Garden, under the proper title of Messiah, saw the appearance of two female soloists who would henceforth be closely associated with Handel's music: Giulia Frasi and Caterina Galli.

Handel composed more than forty operas in over thirty years, and since the late 1960s, with the revival of baroque music and original instrumentation, interest in Handel's operas has grown.

Handel's Coronation Anthems are composed for the event, including Zadok the Priest which has been played at every subsequent Coronation of the British monarch.

Although Messiah is not in any particular key, Handel's tonal scheme has been summarised by the musicologist Anthony Hicks as " an aspiration towards D major ", the key musically associated with light and glory.

Here, Handel's use of Nò, di voi non vo ' fidarmi has Sedley Taylor's unqualified approval: " bids the voices enter in solemn canonical sequence, and his chorus ends with a combination of grandeur and depth of feeling such as is at the command of consummate genius only ".

The first published score of 1767, together with Handel's documented adaptations and recompositions of various movements, has been the basis for many performing versions since the composer's lifetime.

While it can be a simple, unimaginative device, Grove Dictionary of Music, points out that the rosalia has been used effectively by great composers, as in Handel's Hallelujah Chorus in the Messiah (" King of Kings "), the first movement of Mozart's Jupiter Symphony and the finale of Mozart's String Quartet K. 575.

It has subsequently proven to be by far the most popular of Handel's operas, with more than two hundred productions in many countries.

In the 1970s, the work began to be revived, and has come to be considered one of Handel's finest operas.

The Academy has also recorded Purcell's Dido and Aeneas, Handel's Orlando and Rinaldo, Mozart's La clemenza di Tito, Haydn's L ' anima del filosofo and over 200 other recordings for Decca, Harmonia Mundi ( France ), EMI and the new live recording label Wigmore Hall Live.

Samson retained its popularity throughout Handel's lifetime and has never fallen entirely out of favor since.

Ainsley has also become particularly associated with Handel's music and has recorded over ten of his oratorios including Jephtha, La Resurrezione, Messiah, Joshua and Saul.

• Every year since 1882, Bethany Oratorio Society has presented Handel's Messiah at the college-the longest-running annual performances in North America.

He has hosted his own television show, Judge For Yourself, which was canceled due to low ratings and the lack of time in Handel's schedule.

Other projects in which he has been involved include stagings of Handel's opera Giulio Cesare and oratorio Theodora, Stravinsky's A Soldier's Tale with the Los Angeles Philharmonic conducted by Esa-Pekka Salonen, I Was Looking at the Ceiling and Then I Saw the Sky and Peony Pavilion.

The house has been restored to look as it did during Handel's 36 year occupancy from 1723 to 1759.

Although none of Handel's original furniture has been found, pieces have been placed in the rooms which adhere as closely as possible to the inventory.

This story was first related by Handel's early biographer John Mainwaring ; although it may have some foundation in fact, the tale as told by Mainwaring has been doubted by some Handel scholars.

Another legend has it that the Elector of Hanover approved of Handel's permanent move to London, knowing the separation between them would be temporary.

Edmund Bowles has written on Handel's use of timpani in the work.

Having performed in the major opera houses and with the greatest symphony orchestras of the world, she has left a legacy of recordings, including: Handel's Judas Maccabeus ( twice ) and Samson, Mozart's Don Giovanni ( Donna Elvira for Karl Böhm and Donna Anna for Sir Colin Davis ), Beethoven's Missa solemnis and Ninth Symphony, Rossini's