Tradition has a heavy pull. When it comes to George Frideric Handel's oratorio, "Messiah," the Twin Cities' gold standard has long been the St. Paul Chamber Orchestra's version. Seeing as how the SPCO's presenting it again for the first time since COVID came calling, it's understandable that several inches of thick, wet snow would be no barrier to those for whom the past two Christmases have seemed incomplete.

And so they filled Minneapolis' Basilica of St. Mary on Thursday evening, there to experience the resonant and reverent half of the SPCO's tradition, the one set within an expansive stone interior full of statuary and biblical artwork. After two nights there, the orchestra moves to the Ordway Concert Hall in St. Paul to satisfy those seeking a crisper, more acoustically pristine take.

Those more inclined to embrace a sacred emphasis to their "Messiah" — as opposed to a music for music's sake approach — certainly got what they came for on Thursday. When those high baroque-era trumpets pealed forth and the "Hallelujah" chorus streamed from the mouths of the 39-voice choir, the Singers, it felt as if maximum majesty had been achieved.

But, having attended several concerts at the Basilica (including many a "Messiah"), I can tell you that your experience can vary greatly depending on where you sit. Unlike some big stone cathedrals at which it's advisable to sit as close to the front and center as possible, the Basilica has pockets of clarity and murkiness throughout. Nevertheless, it's a visually inspiring place, so it's a tradeoff.

You'll get a much better handle on what Handel is doing in this oratorio if you catch one of this weekend's concerts at the Ordway, with the possible exception of Lynn Erickson's magnificent (and richly resonant) trumpet work on "And the trumpet shall sound." Surely, the lyrics of the Singers will come through considerably clearer, as will those delivered by the sweet soprano voice of Hera Hyesang Park.

It's also a good bet that what sounded great at the Basilica will be even better at the Ordway. Such as the gentle but passionately expressive solos of tenor Thomas Cooley, who made the opening "Comfort ye, my people" the musical equivalent of a cup of warm cocoa, his "Thou shalt break them" an aggressive contrast in tone.

Equally impressive was contralto Avery Amereau, who executed Handel's most difficult coloratura passages brilliantly, but also made the sorrowful "He was despised" weighty with grief. When Cooley and Amereau united for a duet on "O death, where is thy sting?" it felt like the consummate soft landing after 2½ hours of tumult.

Kudos also to baritone John Moore for his stirring solos, particularly "Why do the nations so furiously rage" and the aforementioned "The trumpet shall sound." He has a voice of power and authority, and I could make out every word.

An SPCO reduced to 22 musicians was excellent, most notably while making rapid shifts in mood and volume, the tender sections particularly absorbing. And conductor Paul McCreesh seemed in consummate control throughout, his entertaining, high-energy leadership style particularly admirable, as he led without the benefit of a score.

The St. Paul Chamber Orchestra

With: Conductor Paul McCreesh, the Singers and vocal soloists.

What: George Frideric Handel's oratorio, "Messiah."

When and where: 8 p.m. Fri., Basilica of St. Mary, 1600 Hennepin Av. S., Mpls.; 8 p.m. Sat., 2 p.m. Sun., Ordway Concert Hall, 345 Washington St., St. Paul.

Tickets: $5-$50, available at 651-291-1144 or thespco.org.

Rob Hubbard is a Twin Cities classical music writer. Reach him at wordhub@yahoo.com.