THERE’S no doubt Messiah has staying power. It’s Handel’s most popular oratorio – indeed, probably his most popular piece, full stop – and, while other similar works could be seen as more interesting, more ground-breaking for their time, it’s Messiah which keeps choral societies in business, mainly because it’s a venture which is sure to attract an audience.

While that was certainly true at the Royal Liverpool Philharmonic’s annual outing for the piece, there’s often a need to find some new way of presenting the work. This year was no different, and it was branded a "rare" performance of the 1784 Birmingham version.

This was a reading which was close to the original and we were spared the symphony orchestra with the large array of percussion and many other instruments which Handel simply did not contemplate. Instead, there was a pared-down band which simply accompanied. Horns and trombones appeared towards the end of part two and the few additional instruments were written into the score for a 2008 performance and their inclusion mirrored contemporary accounts of the performance given 25 years after Handel’s death.

The Royal Liverpool Philharmonic Choir gave a deft reading of the work. The tricky runs demanded by Handel in so many of the choruses were achieved apparently effortlessly, though "For unto us" did appear to be in danger of galloping out of control.

Conductor Paul Agnew certainly moved things along. The skipping one-in-a-bar "And the glory" set the bar for the chorus movements and the trio of choral numbers in part two – "Surely", "And with his stripes" and "All we like sheep" – were delightful.

The chorus were light where needed, and the diction was excellent with a fine "Hallelujah" and quite remarkable "Worthy is the Lamb" and "Amen", all the more so for the slow crescendo put in place by Agnew.

The quartet of soloists was, for the most part, excellent. Countertenor Iestyn Davies struck a fine balance between letting the narrative speak and allowing a certain amount of drama to pervade what he was singing.

The same went for tenor Allan Clayton. Bass Roderick Williams, certainly dependable, seemed just a little detached while soprano Klara Ek just occasionally felt a little wobbly. Her "I know that my Redeemer liveth" was a little unconvincing and, at times, she felt as though she was running out of puff.

The only downside was the large cut in part two and the omission of the glorious duet "O death where is thy sting?" in part three. That would have been a fine sound from tenor and countertenor. One can but imagine.