When performing arts institutions reopened in New York this fall, there were fears that audiences would stay away. But while ticket sales for classical music and opera have reportedly been weak elsewhere in the country, most of the events I’ve attended here in the city have had significant crowds.
So it was on Tuesday, when the New York Philharmonic — along with Apollo’s Singers, the choir of the early music ensemble Apollo’s Fire, and four outstanding vocal soloists, all led by Jeannette Sorrell — gave a beautiful performance of Handel’s “Messiah” on Kerk to the river.
Before the concert, ticket holders waited patiently in a line that circled the block to enter the church, after a vaccination check and temperature reading. With seating for about 1,430 inside, the performance was sold out. (There are limited tickets through Saturday.)
“Messiah” is so well known that it’s hard for a performance to stand out. But this one did – not because Sorrell brought a striking interpretive approach to the score, but because she led a lithe, radiant and elegant performance from the fine soloists, rousing chorus and orchestra.
This was the Philharmonic debut of Sorrell, who founded Apollo’s Fire, located in Cleveland, 30 years ago. Starting with the Sinfonia, the players brought in qualities that belong to early music: focused sound (with just a hint of vibrato), smooth flow and clear articulation.
While there was a wonderful vitality in the performance, Sorrell tapped into the melancholic underside of Handel’s work, even during spirited choruses—sung with rich, robust sound and clear diction by Apollo’s Singers—and fiery arias. (She made some cuts to keep the evening, with a break, at two hours and 15 minutes.)
This “Messiah” provided a rewarding quartet of soloists as you are likely to hear this holiday season. The appealing tenor Nicholas Phan set the tone for the evening in the recitative ‘Comfort thee, my people’, performed with melting sound and enchanting sincerity, and the rousing aria ‘Ev’ry valley will be exalted’.
The soprano Amanda Forsythe sang in her Philharmonic debut with shimmering sound and tenderness. Formidable bass-baritone Kevin Deas brought a chilling fervor in “Why Do the Nations Rage So Furiously” but exuded palpable joy in “The Trumpet Shall Sound” (raised by Christopher Martin’s clarion trumpet playing).
Then there was the notable countertenor John Holiday, who also made his Philharmonic debut, who is having a memorable week in New York. He recently made his Metropolitan Opera debut as Orpheus’ doppelgänger in Matthew Aucoin’s “Eurydice,” a role he created when the work premiered in Los Angeles in February 2020. (Holiday sings the final performance of the opera on Thursday, his only night off from this series of “Messiah” performances.)
His shiny voice is natural and full, even in the high range. And there’s almost a baritone cast into his vocals as he dips lower. In addition to his sound, the directness and charismatic intensity of his singing were captivating. A promising debut.
At the end, after going through some hardships to enter the church, the audience was in no rush to leave, as a hearty ovation followed.
New York Philharmonic
Through Saturday at Riverside Church, Manhattan; nyphil.org.