Ton Koopman came to the New York Philharmonic to conduct Handel's Messiah. His wife was also in the audience. Koopman apparently doesn't perform works after Mozart. This was my first experience of a live performance, and his conducting was as sharp as Brüggen's. His timing was quick, like a skilled chef frying tempura. He had a smile on his face and sharp eyes. His tone was natural and varied. The accompaniment continuo was played by one cello and one bass. The cello tutti in the aria was perfectly timed, as you'd expect from the Philharmonic's home ensemble. The tone of the two violins was also different from the first. The violas had dynamic movement. The brilliant violins followed the brilliant trumpet fanfare. Handel's orchestration was superb. The final fugue was magnificent. The singers' voices and vocals were also fantastic. I was delighted to experience Koopman's vibrant music-making, now in his 80s.
12.11.2024
New York Philharmonic 12.11.2024
Handel’s Messiah
Ton Koopman, Conductor
Maya Kherani, Soprano
Maarten Engeltjes, Countertenor
Kieran White, Tenor
Klaus Mertens, Bass-Baritone
Musica Sacra
ニューヨークフィルにトン・コープマンがやってきてヘンデルのメサイアを指揮した。会場には奥さんの姿も見えた。コープマンはモーツアルト以降の作品を演奏しないそうだ。実際初めてライブを体験して、ブリュッヘンの様にシャープな指揮。熟練の職人が天ぷらを揚げる様に、まずタイミングが早い。ニコニコしていて目が鋭い。音色が自然で大変変化に富んでいた。アカンパニャートのコンティヌオがチェロとバス一本ずつ。後、アリアでチェロトゥッティ、よくあっていてさすがホームのフィル。2vlの音色も1と違う。ビオラのダイナミックな動き。見事なトランペットのファンファーレに続くバイオリンの輝く音色。ヘンデルの見事なオーケストレーション。最後のフーガも壮大。歌手たちの喉と歌声も見事。今80歳のコープマンの活き活きした音楽作りを体験できて幸せ。
by classicasobi