Nonetheless, the melancholy-saturated lamentation that opens the piece, and the triumphant choruses that shut it, provides substance. And on Wednesday, the conductor and Baroque specialist Jeannette Sorrell led a sonorous efficiency, drawing charming singing from the choristers of Apollo’s Fireplace and intermittently inspiring the Philharmonic’s gamers to embrace fleeter, Handelian fashion on their fashionable devices.
The Apollo’s Fireplace refrain, a gem of an ensemble, anchored the night with a beguiling sound. Within the large, unified moments, the voice elements stacked atop each other in pellucid columns. Tough double choruses and fugues had a lucent, weightless, nimble high quality.
Sorrell’s brisk adaptation trims the rating to roughly 80 minutes, which offset the orchestra’s often slackened power. She properly reinstated the intensely emotional, typically minimize lamentation (a call she additionally made on a recently released recording with Apollo’s Fire). With a theatrical flourish, she minimize quick the Exodus part in order that it concluded with an exciting depiction of Pharaoh’s military drowning within the Crimson Sea.
Among the many vocal soloists, Amanda Forsythe demonstrated a limpid soprano in “Thou didst blow,” and Edward Vogel confirmed a quite interesting, midweight baritone in his insertion aria, “To God our power” (aided by Christopher Martin’s dignified trumpet solo). The tenor Jacob Perry and the soprano Sonya Headlam stuffed their music with character, and the countertenor Cody Bowers sang with a superbly formed tone and enthusiasm to spare.
Handel devoted a lot of the ultimate part, “Moses’ Track,” to a triumphant account of the Crimson Sea’s parting. In “The depths have lined them,” the strings have been as broad and far-reaching because the water’s floor. Within the rating and the story it recounts, the second is a deus ex machina. In the present day, although, we don’t dwell in a time of miracles.
New York Philharmonic
Carried out on Wednesday at David Geffen Corridor, Manhattan.