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When a performance of Handel’s oratorio “Messiah” includes a countertenor among the soloists and a theorbo (a giant-sized lute with open bass strings for a fuller sound) in the orchestra, you’d be justified in expecting the results to be heavily influenced by what we now know about Baroque performance practices. And with Christopher Warren-Green’s “Messiah” at Powell Hall this weekend, you’d be right—most of the time, anyway.

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