Ton Koopman celebrates his 80th birthday in style with a new version of Handel’s Esther

Bounding onto the stage with all the energy of a man half his age, Ton Koopman, founder and director of the Amsterdam Baroque Orchestra and Choir, looked ready to party. The dilemma: how to celebrate the 80^thbirthday of a man who has devoted his life to the study of Baroque music? The solution: to perform three new versions of Handel oratorios of which Esther, written originally as a masque for the English court is the first. Koopman, the sprightly 80-year-the old Dutchman, clearly relished the prospect.

Based on the Old Testament book and Jean Racine play of the same name, Esther’s subject matter could not be timelier. Esther, a Jewish orphan who later becomes Queen and saves the Jewish people from a massacre at the hands of the evil Haman, broaches themes still perplexing society to this day.

The soloists

Russian soprano, Julia Lezhneva as Esther was assured and commanding. Her agile, yet rich and resonant delivery of this technically challenging and demanding role was endearing. Maarten Engeltjes’s as both King and Mordecai impressed with his phrasing while Andreas Wolf as the wicked Haman was surprisingly sonorous. However, diction and pronunciation of the English text made it difficult to follow the plot. Not so for the accomplished choir, with crisp diction and clear contrapuntal lines.

Julia Lezhneva as Esther © Juri Hiensch — Julia Lezhneva as Esther pictured in Utrecht © Juri Hiensch

The new version of Handel’s Esther

In interview, Koopman talks about recreating an authentic Baroque sound. He acknowledges that we just do not know for sure how the music would have sounded. “You can only try your best.” Well, Koopman’s “best” was inspired. Unlike later oratorios which can become a little staid, this highly imaginative and engaging performance was a triumph.

Ton Koopman © Juri Hiensch — Ton Koopman conducting from the harpsichord © Juri Hiensch

With continuo parts alternating between the harpsichord, harp, chamber organ, double bass and two bassoons, all felt improvised and an overwhelming sense of fun pervaded. The magical change in mood in Tune Your Harps to Cheerful Strains evoked images of the court of the Duke of Chandos for whom it was written. Ethereal spirits from Shakespeare’s Midsummer Night’s Dream almost floated around. Accompanied by a harp continuo, the violins donned their bows, and the oboe soared.

In contrast, three natural trumpets and two natural horns gave a masterclass in period performance playing. Whether it be the horns with differing crooks producing a wealth of hand-stopped notes, or the long, unpredictable baroque trumpets without valves – each with their own element of risk – all was a joy.

The unexpected addition, just as Handel would have done!

If only the opening to Handel’s Coronation Anthem, Zadok the Priest written for the coronation of George II in 1727 could have been a little less subdued. The choir’s “God Save the King” and lovely staccato “Hal-le-lu-jah” coupled with raucous kettle drums ensured patriotism was not far away.

Handel’s Esther in this new version fully deserves to become a staple for choral societies up and down the land.