Hear the Choir of Trinity Wall Street and Trinity Baroque Orchestra in what critics agree is the finest performance of George Frideric Handel’s Messiah in New York City. For the 2014 holiday season, there will be three performances at Trinity Church in downtown New York and one performance at Lincoln Center’s Alice Tully Hall. All performances will be conducted by Julian Wachner. Buy your tickets now, as performances sell out quickly.
Handel’s Messiah and Trinity have a long history – Trinity presented one of the first performances of the work in North America in 1770, and the Choir of Trinity Wall Street and Trinity Baroque Orchestra are still widely regarded as some of the greatest interpreters of the work.
Year after year, The New York Times consistently hails Trinity’s Messiah as one of the best, if not the best, in the city. Here’s what they’ve said:
2010: “[Julian Wachner’s] main concerns, it seemed, were drawing clean textures and crisp articulation from his singers and players, and making sure the text was projected clearly and forcefully.” — Allan Kozinn, The New York Times
2011: “Trinity’s [Messiah], largely on the strength of its extraordinary choir, pierced the heart. Dense yet light, with biting diction and dramatic dynamic shadings, the Trinity choir was particularly revelatory in the great, dark numbers of the oratorio’s second part.” — Zachary Woolfe, The New York Times
2012: “Led with both fearsome energy and delicate grace by Julian Wachner, the Trinity performance was, like last year’s outing, a model of what is musically and emotionally possible with this venerable score.... to experience the full, formidable range of ‘Messiah,’ from the furious flames of the ‘refiner’s fire’ to the delirious party of the finale, next year let Trinity be your guide.” — Zachary Woolfe, The New York Times
2013: “At Trinity, Handel’s ‘Messiah,’ too, becomes an act of communal affirmation. The recitatives and arias are sung by members of the choir, who take turns slipping out of the ranks to walk to the front of the orchestra for their solos... there was expressive sincerity in every solo as well as keen attention to the dramatic charges of the biblical texts.” — Corinna da Fonseca-Wollheim, The New York Times