NY Phil: Handel's 'Messiah'

• Maya Kherani, soprano
• Maarten Engeltjes, countertenor
• Kieran White, tenor
• Klaus Mertens, bass-baritone
• Ton Koopman, conductor

Join the NY Phil holiday tradition! Handel's classic setting of Biblical texts is marked by the opera composer's knack for drama and storytelling, and his writing for the human voice reaches dizzying heights of expression, ​sustained​​​ by iconic melodies from the Orchestra. These performances feature a stunning cast of soloists, ​​Musica Sacra, and Baroque specialist Ton Koopman on the podium.

Runs Dec. 11-14.

About New York Philharmonic

https://nyphil.org/

About Musica Sacra (New York)

Since its founding in 1964 by conductor Richard Westenburg, the mission of Musica Sacra has been to create definitive, professional, choral performances of the highest caliber, and profound statements, made simply and elegantly. It does so through concerts, recordings, the commissioning and performing of new choral works, and collaborating with other top-tier performing arts organizations.

About Maya Kherani, soprano

https://www.mayakherani.com/

About Maarten Engeltjes, countertenor

https://maartenengeltjes.com/

About Kieran White, tenor

British tenor Kieran White is rapidly establishing himself as a sought-after soloist in mainland Europe, North America, and the United Kingdom. Recent operatic engagements include Vivaldi's La fida ninfa (as Narete) at Innsbrucker Festwochen, La Musica e le Ragioni dell'Anima—a solo work featuring music by Monteverdi, Cavalli, and Carissimi—at Cremona's Monteverdi Festival, Rameau’s Castor and Pollux (Castor) with Warsaw Chamber Opera, Handel's Acis and Galatea (Damon) for Dorset Opera, and a recording of Lully's Atys with Les Talens Lyrique followed by performances in Vienna and at Versailles.

About Klaus Mertens, bass-baritone

https://www.klausmertens.eu/

About Ton Koopman, conductor

Born in Zwolle, The Netherlands, Ton Koopman had a classical education and studied organ, harpsichord, and musicology in Amsterdam, receiving the Prix d'Excellence for both instruments. Naturally attracted by historical instruments and fascinated by the philological performance style, Koopman concentrated his studies on Baroque music, with particular attention to the oeuvre of J.S. Bach and Buxtehude, and soon became a leading figure in the "historic informed performance" movement.