New York Philharmonic – Andrew Manze, conductor. December 18, 2013.

Avery Fisher Hall at Lincoln Center.  Orchestra 2 (Seat Q1, $40.)

Program

Messiah (1741) by Handel (1685-1759).

Artists

Joelle Harvey, soprano; Tamara Mumford, mezzo-soprano; Allan Clayton, tenor; Matthew Rose, Bass

Westminster Symphonic Choir, Joe Miller, Director

Continuo: Eric Bartlett, cello; Satoshi Okamoto, bass; Kim Laskowski, Bassoon; Kent Tritle, organ; Paolo Bordignon, harpsichord

Matthew Muckey, trumpet

We got these rather good seats at half-price from Goldstar.  The Philharmonic is repeating this program five times, many other organizations are also performing the Messiah this time of the year, it is quite amazing the attendance is still pretty good.  And evidently the audience is not limited to Christians. For example, quite a few people were wearing yarmulkas.  It is either the holiday spirit, or people are there for the great music.

Even though today is another “gridlock alert” day, we decided to drive in as taking the train would mean getting home after midnight.  We left at about 4:15 pm and got to the West Side at around 5:30 pm.  And we found free off-street parking.  With the closure of China Fun and Ollie’s, we weren’t sure where to grab a quick dinner.  We did find a Chinese restaurant serving “Szechuan” food on 72th.

The full Messiah is over 2 hours long.  I think for tonight’s performance they skipped some sections, and the entire program, including a 30-minute intermission, was a little less than 2 ½ hours.  About half an hour into the program, the conductor paused.  At first we were wondering what was happening, it turns out they were letting late comers come in.  Some people were complaining, shouting “apologize to the orchestra;” others were saying “it’s alright.”  New York Philharmonic’s usual practice would be to have the late comers miss the entire first half.  In this tug-of-war between not disturbing something in progress and being accommodating, I usually go with the former – I have been denied entrance a few times. This is the Christmas season, so perhaps we can be a bit more generous.  The interruption did affect the artists a bit, in my opinion; they eventually recovered though.

I went with the aim of just enjoying this great composition, and managed to do that.  All the soloists did well.  The only one I heard before was Mumford who I remember as one of the Rhinemaidens in the recent Ring Cycle.  The choir consisted (mostly) of college students, and did well technically.  Though Manze conducted with enthusiasm, he also elicited a controlled performance from the artists.  I would have preferred one that was a bit freer; but have no issue with how he interpreted it.

The Playbill gives a description of the three sections of the oratorio: (1) the prophecy of Christ’s coming and the circumstances of his birth; (2) the vicissitudes of his life on earth; and (3) the events surrounding the Resurrection and the promise of redemption.  Evidently Handel finished the entire composition in three weeks.  It also talks about the various theories on why people stand up for the “Hallelujah Chorus,” and says “in the spirit of democracy we leave it up to [the individual.]” All the soloists stood up, and most in the audience did also.  The gentleman wearing the yarmulke didn’t, Anne didn't stand up, and in solidarity I remained in my seats  Afterwards Anne explained to me her back was hurting so she didn’t want to aggravate it by jumping up.

Our trip back home was uneventful.  There was a little bit of a tie-up on 12^th, turns out it was due to cars lining up for the car wash, a first for us.

(Note added Jan 17.)  I didn't expect to find a New York Times review on this oft-repeated program, but here it is.  The reviewer enjoyed especially the soloist, although she had good things to say about everyone, except those who chose to leave early, and the person who coughed throughout one of the arias.