New York Philharmonic Perform Händel’s "Messiah"

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Published on Friday, 27 December 2024 16:50

Written by Jack Angstreich

Photo by Chris Lee

At Lincoln Center’s excellent David Geffen Hall, on the evening of Thursday, December 12th, I had the exceptional pleasure to attend a superior presentation—continuing a strong season—of Georg Friedrich Händel’s enormously popular oratorio, Messiah, performed by the New York Philharmonic—impressively led by conductor and harpsichordist Ton Koopman—along with the outstanding Musica Sacra chorus under the direction of the eminent Kent Tritle, who was also the organist. A remarkable slate of soloists—all debuting with this ensemble—included above all the marvelous soprano Maya Kherani, who wore a fabulous green and silver gown. Also wonderful was tenor Kieran White, while countertenor Maarten Engeltjes was admirable. As is often the case with a bass-baritone, Klaus Mertens was especially strong in his higher register. (Cellist Matthew Christakos was a featured player.)

In his useful notes for the program, James M. Keller provided some background on the work:

Early in the summer of 1741, Charles Jennens had assembled a libretto that drew creatively on Biblical passages from the Books of Isaiah, Haggai, Malachi, Matthew, Luke, Zechariah, John, Job, Psalms, Lamentations, Hebrews, Romans, I Corinthians, and Revelation to create a loose story comprising narrative and reflections about the life of Jesus. This he organized in three discrete sections: the first relating to the prophecy of Christ's coming and the circumstances of his birth; the second to the vicissitudes of his life on Earth; and the third to events surrounding the Resurrection and the promise of redemption. Handel leapt into action on August 22. He finished the draft of Part One on August 28, of Part Two on September 6, and of Part Three on September 12 — and then he took another two days to polish details on the whole score. That so great — and large — a masterpiece as Messiah should have been created in so brief a span as three weeks seems all but incredible to most of us. In fact, this prodigious pace was not exceptional for Handel, and it is no more than romantic fantasy to view it (as it once was routinely) as a fever of divine inspiration peculiar to the composition of Messiah. In fact, he allowed himself about a week's rest after finishing Messiah before embarking on his next oratorio, Samson, which he wrote in the relatively leisurely span of five weeks.

In Part I of the oratorio, the extraordinary Sinfonia (Overture) has a stately introduction and then becomes livelier. The tenor was showcased to memorable effect in the ensuing Accompagnato, “Comfort ye my people” and the immediately following Air, “Ev’ry valley shall be exalted,” but the excitement increased with the first Chorus, “And the glory of the Lord” and another shortly afterward, “And He shall purify.” One of the finest of these is the famous “For unto us a child is born” which immediately precedes a very compelling—despite its apparent modesty—instrumental interlude, Pifa (“Pastoral Symphony).

In the second Part, the initial Chorus, “Behold the Lamb of God,” is one of the most remarkable if one of the least ostentatious, and further on, another two, “He trusted in God” and “Let all the angels” are notable for their fugue-like complexity. The subsequent Air for soprano, “How beautiful are the feet of them,” is one of the loveliest in the work. This section concludes with the magnificent Hallelujah Chorus.

The final Part begins with another exquisite Air for soprano, “I know that my Redeemer liveth; a later one for the bass-baritone, “The trumpet shall sound, prominently features that instrument, here expertly played by Raymond Riccomini. The last Air, “If God be for us” for the soprano, is also terrific, ushering in the two ultimate Choruses, “Worthy is the Lamb” and “Amen,” which provide a stunning close.

With perfect justice, the artists were enthusiastically applauded.

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