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Become a 2017–18 subscriber when you purchase 4 or more eligible concerts and enjoy exclusive benefits including unlimited no-fee ticket exchanges and immediate presale access to all 2017–18 subscription concerts.

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Calendar

Handel's Messiah

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Location

David Geffen Hall

Directions
Price Range

$34-155

Duration

2 hours & 30 minutes with intermission

Date & Times

13

Dec, 2016

Tuesday, 7:30 PM

14

Dec, 2016

Wednesday, 7:30 PM

15

Dec, 2016

Thursday, 7:30 PM

16

Dec, 2016

Friday, 2:00 PM

17

Dec, 2016

Saturday, 7:30 PM

Event Info

Presented by Gary W. Parr


Messiah's dazzling solos, instrumental fireworks, and glorious choral writing have made it the quintessential New York Philharmonic holiday tradition. Come experience the beauty and joy of this masterpiece as Music Director Alan Gilbert conducts. "The Philharmonic played with the weight and nuance that are in its DNA ... the trumpets made for a sizzling 'Hallelujah'" — The New York Times

Program

Handel

Messiah

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Artists

Alan Gilbert

Conductor

Alan Gilbert

Conductor

Alan Gilbert

Conductor

The 2016–17 season marks Alan Gilbert’s eighth and final season as Music Director of the New York Philharmonic. The first native New Yorker to hold the post, he has sought to make the Orchestra a point of pride for the city and country. The Financial Times called him “the imaginative maestro-impresario in residence.”

Mr. Gilbert and the Philharmonic have forged artistic partnerships, introducing the positions of The Marie-Josée Kravis Composer-in-Residence and The Mary and James G. Wallach Artist-in-Residence — held in the 2016–17 season by Esa-Pekka Salonen and violinist Leonidas Kavakos, respectively — as well as Artist-in-Association, currently held by pianist Inon Barnatan, who inaugurated the role in the 2014–15 season; an annual festival, which this season is Beloved Friend — Tchaikovsky and His World, featuring Russian-born Semyon Bychkov conducting works by Tchaikovsky as well as composers he was influenced by and whom he influenced; CONTACT!, the new-music series; and the NY PHIL BIENNIAL, an exploration of today’s music by a wide range of contemporary and modern composers. During his tenure the Philharmonic launched the New York Philharmonic Global Academy, partnerships with cultural institutions to offer training of pre-professional musicians, often alongside performance residencies. These include the Shanghai Orchestra Academy and Residency Partnership and collaborations with Santa Barbara’s Music Academy of the West and the Shepherd School of Music at Rice University. Alan Gilbert and the Philharmonic also launched a five-year partnership with the University Musical Society at the University of Michigan.

Alan Gilbert concludes his final season as Music Director with four programs that reflect signature themes of his tenure, featuring works that hold particular meaning for him and musicians with whom he has formed close relationships. These include a pairing of Beethoven’s Ninth Symphony with Schoenberg’s A Survivor from Warsaw; Wagner’s complete Das Rheingold in concert; the New York Premiere of Composer-in-Residence Esa-Pekka Salonen’s Wing on Wing alongside Artist-in-Residence Leonidas Kavakos in Brahms’s Violin Concerto and the New York Premiere of Aeriality by Anna Thorvaldsdottir, the second Kravis Emerging Composer, an honor introduced during Alan Gilbert’s tenure; and an exploration of how music can effect positive change in the world. Other 2016–17 season highlights include four World Premieres; Dvořák’s Symphony No. 9, From the New World, as part of the New York Philharmonic’s 175th anniversary celebrations; Mahler’s Fourth Symphony and Handel’s Messiah; the World Premiere presentation of Gershwin’s score to Manhattan, performed live to the film; Ligeti’s Mysteries of the Macabre; a concert with friends celebrating his 50th birthday; works by John Adams marking the composer’s 70th birthday; and the EUROPE / SPRING 2017 tour. As part of the New York Philharmonic Global Academy, he will lead the Orchestra in its third annual performance residency through the Shanghai Orchestra Academy and Residency Partnership, and will lead the Philharmonic and Academy Festival Orchestra together in Santa Barbara through the partnership with Santa Barbara’s Music Academy of the West.

Last season’s Philharmonic highlights included R. Strauss’s Ein Heldenleben to welcome newly appointed Concertmaster Frank Huang; Carnegie Hall’s 125th anniversary Opening Night Gala; premieres by William Bolcom, Franck Krawczyk, Magnus Lindberg, and Marc Neikrug; works by Sibelius in celebration of the 150th anniversary of the composer’s birth; as well as Mahler’s Das Lied von der Erde and an all-Mozart program. He also co-curated the second NY PHIL BIENNIAL — during which he conducted works by Boulez and Stucky, in tribute to the late composers, as well as premieres by William Bolcom, John Corigliano, and Per Nørgård, the second recipient of The Marie-Josée Kravis Prize for New Music at the New York Philharmonic, an honor introduced during Alan Gilbert’s tenure. The Music Director also performed violin in Messiaen’s Quartet for the End of Time alongside Philharmonic principals and Mr. Barnatan. Under the New York Philharmonic Global Academy he led the Orchestra in its second performance residency in Shanghai and made his second appearance conducting the Music Academy of the West’s Academy Festival Orchestra.

Previous high points among Mr. Gilbert’s Philharmonic appearances include critically celebrated staged productions such as Ligeti’s Le Grand Macabre (2010) and Janáček’s The Cunning Little Vixen (2011), both cited as the top cultural events of their respective years; Philharmonic 360 at Park Avenue Armory (2012), the acclaimed spatial music program featuring Stockhausen’s Gruppen; A Dancer’s Dream: Two Works by Stravinsky (2013, and later presented in movie theaters internationally); a staged production of Sondheim’s Sweeney Todd starring Bryn Terfel and Emma Thompson that was broadcast on Live From Lincoln Center, earning Mr. Gilbert an Emmy nomination for Outstanding Music Direction (2014); and the U.S. Premiere of a staging of Honegger’s Joan of Arc at the Stake featuring Oscar winner Marion Cotillard (2015). Other highlights include the first two editions of the NY PHIL BIENNIAL; World Premieres of works by Christopher Rouse, Magnus Lindberg, Peter Eötvös , and composers featured on CONTACT!; the score from 2001: A Space Odyssey, performed live to the film; Mahler’s Second Symphony, Resurrection, on A Concert for New York on September 10; the Verdi Requiem; the conclusion of The Nielsen Project, the multi-year initiative to perform and record the Danish composer’s symphonies and concertos; Mr. Gilbert’s Philharmonic debut as violin soloist in J.S. Bach’s Concerto for Two Violins; six concerts at Carnegie Hall; and ten tours around the world. In August 2015 he led the Mahler Chamber Orchestra in the U.S. Stage Premiere of George Benjamin’s Written on Skin, co-presented by the New York Philharmonic and Lincoln Center, the inaugural production of the Lincoln Center–New York Philharmonic Opera Initiative.

Conductor laureate of the Royal Stockholm Philharmonic Orchestra and former principal guest conductor of Hamburg’s NDR Symphony Orchestra, he regularly conducts leading orchestras nationally and internationally, such as the Boston Symphony Orchestra, The Philadelphia Orchestra, Amsterdam’s Royal Concertgebouw Orchestra, Berlin Philharmonic, Munich Philharmonic, Leipzig Gewandhaus Orchestra, Bavarian Radio Symphony Orchestra, Orchestra dell’Accademia Nazionale di Santa Cecilia, and Orchestre philharmonique de Radio France. He has appeared at The Metropolitan, Los Angeles, Zurich, Royal Swedish, and Santa Fe opera companies. This season Mr. Gilbert returns to the foremost European orchestras, records Beethoven’s complete piano concertos with the Academy of St Martin in the Fields and Inon Barnatan, and conducts Gershwin’s Porgy and Bess at Milan’s Teatro alla Scala, his first time leading a staged opera there.

In September 2011 Alan Gilbert became Director of Conducting and Orchestral Studies at The Juilliard School, where he is also the first holder of Juilliard’s William Schuman Chair in Musical Studies. He made his acclaimed Metropolitan Opera debut in 2008 leading John Adams’s Doctor Atomic; the DVD and Blu-ray of this production received the 2012 Grammy Award for Best Opera Recording. Renée Fleming’s Decca recording Poèmes, on which he conducted, received a 2013 Grammy Award. Earlier releases garnered Grammy Award nominations and top honors from the Chicago Tribune and Gramophone magazine. He received his second Emmy nomination for Outstanding Music Direction for Sinatra: Voice for a Century, broadcast on Live From Lincoln Center in 2015. Mr. Gilbert conducted Messiaen’s Des Canyons aux étoiles on a recent album recorded live at the Santa Fe Chamber Music Festival.

Alan Gilbert studied at Harvard University, The Curtis Institute of Music, and Juilliard and was assistant conductor of The Cleveland Orchestra (1995–97). He received Honorary Doctor of Music degrees from Curtis in May 2010 and from Westminster Choir College in May 2016, and in December 2011 he received Columbia University’s Ditson Conductor’s Award for his “exceptional commitment to the performance of works by American composers and to contemporary music.” In 2014 he was elected to The American Academy of Arts & Sciences, in 2015 he received a Foreign Policy Association Medal for his commitment to cultural diplomacy and was named Officier de l’Ordre des Arts et des Lettres, and in 2016 he received New York University’s Lewis Rudin Award for Exemplary Service to New York City in recognition of his leadership in making New York one of the world’s great centers for music and the arts.

Relive the magic of the combination of Alan Gilbert and the Philharmonic through video, audio, and photos.

Visit Alan Gilbert’s Official Website.

Learn more about Alan Gilbert
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Christina Landshamer

Soprano

Christina Landshamer

Soprano

Christina Landshamer

Soprano

German soprano Christina Landshamer graduated from Munich’s and Stuttgart’s universities for music and performing arts. She is a versatile and internationally in-demand concert, opera, and recital singer, and has worked with conductors such as Riccardo Chailly, Stéphane Denève, Daniel Harding, Kent Nagano, Roger Norrington, and Christian Thielemann.

Last season Ms. Landshamer made her U.S. debut at the Lyric Opera of Chicago as Sophie in Richard Strauss’s Der Rosenkavalier, followed by concerts in New York with the Ensemble MidtVest at Carnegie Hall’s Weill Recital Hall. This season she returns to the Pittsburgh Symphony Orchestra, led by Manfred Honeck, for Mahler’s Symphony No. 2, Resurrection, and appears twice with the New York Philharmonic conducted by Alan Gilbert, first in Handel’s Messiah (in December, marking her debut with the Orchestra), and then in Mahler’s Symphony No. 4 (March 2017), in which she will also perform during the Orchestra’s EUROPE / SPRING 2017 tour. She also appears with NDR Elbphilharmonie under the direction of Thomas Hengelbrock in Haydn’s The Creation as part of the Elbphilharmonie’s opening festival, on tour with the Orchestre des Champs Elysées under Philippe Herreweghe in Beethoven’s Symphony No. 9, and with the Leipzig Gewandhaus Orchestra under Herbert Blomstedt for Bach’s Mass in B minor.

Ms. Landshamer’s discography includes Haydn’s The Seasons and The Creation led by Philippe Herreweghe (PHI), Bizet’s Carmen with Simon Rattle (CD and DVD on EMI Classics), and Bach’s St. Matthew Passion with Chailly (Decca). Her musical versatility can also be enjoyed on various DVDs: Haydn’s Il mondo della luna (Concentus musicus/Nikolaus Harnoncourt, Unitel Classica), St. Matthew Passion and Mahler’s Symphony No. 4 (both Leipzig Gewandhaus Orchestra/Riccardo Chailly, Accentus), and Mozart’s The Magic Flute (Nederlandse Opera — Opus Arte). This year she released her first CD of Lieder, featuring songs by Ullmann and Schumann, with pianist Gerold Huber.

Learn more about Christina Landshamer

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Sasha Cooke

Mezzo-Soprano

Sasha Cooke

Mezzo-Soprano

Sasha Cooke

Mezzo-Soprano

Grammy Award–winning mezzo-soprano Sasha Cooke’s 2016–17 season includes performances of Handel’s Messiah (New York Philharmonic), Humperdinck’s Hansel and Gretel (Seattle Opera), Duruflé’s Requiem (National Symphony Orchestra), Elgar’s The Dream of Gerontius (Seattle Symphony Orchestra, Hallé Orchestra), Mahler’s Das Lied von der Erde (Indianapolis Symphony), Bernstein’s Symphony No. 1, Jeremiah (The Philadelphia Orchestra, Amsterdam’s Royal Concertgebouw Orchestra), Verdi’s Requiem (Houston Grand Opera), Prokofiev’s Ivan the Terrible (Chicago Symphony Orchestra), a concert of arias and songs by Handel, Mozart, and Mahler (Los Angeles Chamber Orchestra), Christopher Theofanidis’s Creation / Creator (Atlanta Symphony Orchestra), Mozart’s Requiem (Oregon Symphony), John Harbison’s Requiem (Nashville Symphony), Mahler’s Symphony No. 3 (Milwaukee Symphony Orchestra), Mahler’s Symphony No. 2, Resurrection (Minnesota Orchestra), and the World Premiere of Mason Bates’s The (R)evolution of Steve Jobs (Santa Fe Opera). Ms. Cooke will work with conductors including Alan Gilbert, Giancarlo Guerrero, Riccardo Muti, Yannick Nézet-Séguin, Robert Spano, Osmo Vänskä, Edo de Waart, and Jean-Marie Zeitouni.

Past engagements have included the San Francisco, Seattle, Houston, Colorado, Melbourne, Singapore, and New World symphony orchestras, San Francisco and Dallas Operas, St. Paul Chamber Orchestra, Mormon Tabernacle Choir, and Deutsches Symphonie-Orchester Berlin. She has appeared at the Brooklyn Academy of Music, Carnegie Hall, Barbican Centre, Palau de la Música, Theater an der Wien, and the Kennedy Center. Additional conductors with whom she has worked include Harry Bicket, Andrew Davis, Andrew Grams, Mark Elder, Ludovic Morlot, Andrés Orozco-Estrada, Trevor Pinnock, Carlos Prieto, Donald Runnicles, Tugan Sokhiev, Michael Tilson Thomas, and Pinchas Zuckerman.

A graduate of Rice University and The Juilliard School, Sasha Cooke also attended the Music Academy of the West, Aspen Music Festival and School, Ravinia Festival’s Steans Music Institute, Wolf Trap Foundation, Marlboro Music Festival, The Metropolitan Opera’s Lindemann Young Artist Development Program, and Seattle Opera and Central City Opera’s Young Artist Training Programs.

Learn more about Sasha Cooke

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Matthew Polenzani

Tenor

Matthew Polenzani

Tenor

Matthew Polenzani

Tenor

Tenor Matthew Polenzani is the recipient of numerous honors, including the 2008 Beverly Sills Artist Award and a 2004 Richard Tucker Award. Among his many roles at The Metropolitan Opera are Nemorino in Donizetti’s L’elisir d’amore, Alfredo Germont in Verdi’s La traviata, Tamino in Mozart’s The Magic Flute, Don Ottavio in Mozart’s Don Giovanni, Ferrando in Mozart’s Così fan tutte, the Duke of Mantua in Verdi’s Rigoletto, and Roméo in Gounod’s Roméo et Juliette. He is a frequent guest at all of the leading European opera houses, including London’s Royal Opera, Covent Garden; Bavarian Staatsoper; Opéra National de Paris; Vienna Staatsoper; and Milan’s Teatro alla Scala. His repertoire also includes Edgardo in Donizetti’s Lucia di Lammermoor and the title roles in Mozart’s La clemenza di Tito, Berlioz’s The Damnation of Faust, Mozart’s Idomeneo, Massenet’s Werther, and Offenbach’s The Tales of Hoffmann.

Mr. Polenzani has appeared in concert with leading U.S. and European orchestras, and recent highlights include Beethoven’s Symphony No. 9 with Riccardo Muti and the Chicago Symphony Orchestra and Verdi’s Requiem with Riccardo Chailly at Milan’s Teatro alla Scala.

Upcoming projects include roles in Mozart’s Idomeneo, Richard Strauss’s Der Rosenkavalier (with staging by Robert Carsen), Don Giovanni at The Metropolitan Opera, and Tamino at Lyric Opera of Chicago. Upcoming concert appearances include a performance of Mahler’s Des Knaben Wunderhorn with mezzo-soprano Susan Graham and The Metropolitan Opera Orchestra at Carnegie Hall.

Learn more about Matthew Polenzani

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John Relyea

Bass

John Relyea

Bass

John Relyea

Bass

Bass John Relyea has appeared at the world’s most celebrated opera houses, including The Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Opéra National de Paris, Milan’s Teatro alla Scala, Munich Staatsoper, Vienna Staatsoper, and Royal Opera, Covent Garden. His performances have included the title roles in Mozart’s The Marriage of Figaro, Bartók’s Bluebeard’s Castle, and Rachmaninoff’s Aleko as well as Méphistophélès in Gounod’s Faust and Berlioz’s The Damnation of Faust, the Four Villains in Offenbach’s The Tales of Hoffman, Bertram in Meyerbeer’s Robert le diable, Raimondo in Donizetti’s Lucia di Lammermoor, and Marke in Wagner’s Tristan und Isolde.

In concert Mr. Relyea has sung with the New York and Berlin Philharmonic orchestras; Philadelphia and Cleveland Orchestras; and the Chicago, Boston, Pittsburgh, and London symphony orchestras. He has also appeared at the Tanglewood, Ravinia, Salzburg, Edinburgh, Lucerne, and Mostly Mozart festivals, and at the BBC Proms. In recital, he has been presented at Carnegie Hall’s Weill Recital Hall and The Metropolitan Museum of Art in New York City, Wigmore Hall in London, University Musical Society in Ann Arbor, and the University of Chicago Presents series.

Mr. Relyea’s recordings include the Verdi Requiem with Colin Davis and the London Symphony Orchestra (LSO Live) and Mahler’s Symphony No. 8 with Simon Rattle and the City of Birmingham Symphony Orchestra (EMI). He also appears on the Royal Opera’s DVD of Robert le diablo (Opus Arte) and The Metropolitan Opera’s DVDs of Mozart’s Don Giovanni, Bellini’s I Puritani, Wagner’s Die Meistersinger von Nüremberg (Deutche Grammophon), and Verdi’s Macbeth (The Metropolitan Opera Live in HD series).

This season, Mr. Relyea returns to The Metropolitan Opera for Rossini’s William Tell, makes his debut at the Teatro dell’Opera di Roma in Tristan und Isolde, and appears in concert with the New York Philharmonic, The Philadelphia Orchestra, and the Dallas, St. Louis, and NDR symphony orchestras.

Learn more about John Relyea

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Concert Chorale of New York, James Bagwell, Director

Concert Chorale of New York, James Bagwell, Director

The Concert Chorale of New York is a group of professional singers that has appeared at the Caramoor Festival in concert versions of Handel’s L’Allegro and Theodora, Brittten’s A Midsummer Night’s Dream, and Rossini’s La Cenerentola. Other credits include the Brooklyn Academy of Music productions of Philip Glass’s Civil Wars, John Adams’s Nixon in China and The Death of Klinghoffer, as well as Purcell’s Dido and Aeneas and L’Allegro with the Mark Morris Dance Company.

The Chorale participated in a project at the Performing Arts Center at Purchase College in performances of Gilbert and Sullivan; a Haydn, Bach, and Beethoven series; and in Live From Lincoln Center’s Emmy-nominated A Salute to the American Musical. The ensemble makes regular appearances at the Mostly Mozart Festival, most recently in Mozart’s Requiem and Mass in C minor, Beethoven’s Symphony No. 9 with Gianandrea Noseda, and Haydn’s The Creation with Louis Langrée. As part of the Lincoln Center Festival, it appeared in Julie Taymor’s production of Eliot Goldenthal’s Grendel, Richard Strauss’s Daphne, and Danny Elfman’s Music from the Movies of Tim Burton, also televised on Live From Lincoln Center. Upcoming Lincoln Center performances include Beethoven’s Ninth Symphony with Iván Fischer and the Budapest Festival Orchestra.

The Chorale has also appeared with the American Symphony Orchestra, Judy Collins, Chicago Symphony Orchestra, and Opera Orchestra of New York, as well as in a concert performance of John Adams’s The Death of Klinghoffer conducted by the composer at The Juilliard School. The Chorale also participated in the acclaimed concert version of Rodgers & Hammerstein’s Carousel with Leonard Slatkin at Carnegie Hall, and the New York Premiere of Paul McCartney’s Ecce Cor Meum.

The ensemble’s discography includes Lederer and Davis’s Kismet and Wasserman’s Man of La Mancha with Paul Gemignani (CBS Records), Stephen Sondheim’s The Frogs (Nonesuch), and recordings with the American Symphony Orchestra and Opera Orchestra of New York. The men of the Chorale were featured on Pet Shop Boys recordings (EMI).

Learn more about Concert Chorale of New York, James Bagwell, Director

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