«“Not for Messiah haters; but for Messiah lovers who want to know what they’re singing every year, warts and all.”—David Van Biema, author of the forthcoming Speaking to God: A Cultural History of the Psalms»

David Van Biema

«“With superb mastery over the sources, both Christian and Jewish, Michael Marissen’s arresting argument  indicates that even the most beloved and apparently ecumenical art works might rest on deep religious bigotry.  Boldly rebutting his contenders, Marissen’s lucidly articulated humanistic message instructs us that exposing the vexing components of our cherished pantheons would contribute to further understanding of the complexity of culture and the moral responsibility of its inheritors.”—Ruth HaCohen, Artur Rubinstein Professor of Musicology, The Hebrew University of Jerusalem»

Ruth HaCohen

«“This work . . . shows painstakingly cited original research.”—Library Journal»

Library Journal

«“When I read Michael Marissen’s essay of a few years back in which he first argued that there was anti-Judaism in some passages of the libretto of Handel’s Messiah, I was not fully persuaded. Tainted Glory in Handel’s Messiah has persuaded me. Marissen shows beyond a doubt that anti-Judaism was in the air in England at the time; so it’s not surprising that there would be anti-Judaism in some passages of Messiah’s libretto. But it is, as Marissen’s subtitle suggests, unsettling. We want Handel’s masterpiece to transcend its cultural context. It turns out that it does not, not entirely. It remains a masterpiece; but those who read Marissen’s book will find themselves listening with somewhat different ears.”—Nicholas Wolterstorff, Noah Porter Professor Emeritus of Philosophical Theology, Yale University»

Nicholas Wolterstorff

«“This is a highly significant piece of work.”—Robin A. Leaver, Fellow of the Royal School of Church Music»

Robin A. Leaver