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Posts tagged: historically informed

Ensemble Zefiro a breath of fresh, tangy air in Wellington

By , 10/08/2018
I’ve copied out the titles of the pieces as per programme, which accounts for the unusual names for aria (arie), overture (ouverture) and partita (Parthia), the last of which I thought at first was some kind of misprint. But no – there it was - Parthia, an alternative form of “partita”. So as it was something I didn’t know before I thought it was worth committing to review! However... read more

Monteverdi’s Orfeo – a “rarely comest…spirit of delight” from Eternity Opera

By , 04/08/2018
To my consternation, I learned after the performance on Saturday evening was completed, that this was to be the only “outing” for Eternity Opera’s production of Monteverdi’s Orfeo! On a number of counts, this was regrettable, if only for the fact that I knew of a number of people who weren’t able to attend the performance and who had expected (as I certainly did) that there would be at... read more

Harmony of the Spheres in tandem with life on earth – Hildegard of Bingen (1098-1179) from Baroque Voices and instrumentalists

By , 17/06/2018
More of a spiritual/aesthetic experience than merely a “concert” was Baroque Voices’ evocative and atmospheric presentation “Harmony of the Spheres”, triumphantly bringing together singers, instrumentalists and audience to share and delight in the joys of exploration, wonderment and celebration wrought by the music of the twelfth-century Abbess Hildegard of Bingen. No more ambient and timeless sounds than those of Hildegard’s music intermingled with both contemporaneous dance rhythms and the... read more

Gaudete at St Mary of the Angels with Baroque Voices and Palliser Viols

By , 20/12/2017
This was a beautifully devised and presented programme, appropriately given the name “Gaudete” as a kind of seasonal evocation, an enjoining spirit of joyfulness, as well as a reflection of the sentiments proclaimed by both words and music throughout the evening, such as with an eponymously-named work written especially for these musicians by New Zealand composer Ross Harris. The term “verse anthem” is the English equivalent of the German “cantata”... read more

A flavoursome taste of the “Baroque” at the St.Andrew’s Lunchtime Concert Series

By , 13/12/2017
These four performers, a singer and three instrumentalists, provided for this concert a goodly range of musical expression inhabiting that style we loosely know as “baroque”. The programme was framed by works from two of the “giants” of the era, Georg Phillipp Teleman and Johann Sebastian Bach, and also contained a sonata for oboe and bassoon by someone whose name was unknown to me, Johann David Heinichen (1683-1729) ... read more

Handel’s Messiah – music as a living entity

By , 09/12/2017
This was a most interesting “Messiah”, containing as it did a number of interpretative and executive detailings I wouldn’t quite frankly have expected to encounter in the same single performance. Of course, for me to actually say that goes against the grain of what I’ve always felt about Baroque Music and its presentation, that its composers and musicians (and almost certainly its listeners as well) would have been intensely... read more

Monteverdi again – at last! – The Fifth Book of Madrigals, from Baroque Voices

By , 03/12/2017
Continuing with a concert series which began in 2011, Baroque Voices, led by the intrepid and perennially fresh-voiced Pepe Becker, performed for us on this occasion all but the final madrigal in Monteverdi’s “Quinto Libro” (Book Five), the last-named requiring a greater number of singers than the rest of the collection. The group has, sometimes, in these concerts, re-ordered the chronology of the works (Book Four, for example, was... read more

Refined, period sensibilities from Kuijken Quartet in Haydn and Mozart

By , 15/07/2017
The Kuijken Quartet is very much a family affair: second violin Sara is Sigiswald’s daughter and violist Marleen Thiers, his wife. They have devoted themselves to playing music in the ‘historically informed’ manner. While that has tended to refer mainly to music of the earlier, Baroque era, it applies also to the Galant and Classical periods, and in theory to all later periods, up to yesterday, if you insist It... read more

Purcell’s “happier graces” prevail in concert of improvisations

By , 18/03/2017
This was a concert whose music-making seemed to connect with practically everybody who sat within coo-ee of me in the Michael Fowler Centre, judging by the warmth and enthusiasm of the reception for the musicians at the end of the evening. While I must confess I wasn't as obviously enamoured of some of the concert's offerings as most people were, I certainly registered the individual and corporate skills of... read more

Days Bay Opera does it again with Handel’s “Theodora”

By , 11/02/2017
One of the pleasures of reviewing for me is fronting up to performances of music which I simply don’t know, and subsequently asking myself (sometimes in tones of amazement and disbelief) why it is I’ve never encountered this or that work before, finding it so beautiful / profound / thrilling /whatever! Thus it was with this often compelling production of Handel’s oratorio Theodora, a work the composer wrote towards... read more

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