The English Concert, Wigmore Hall, review: spinning Handel’s clichés into pure gold – Telegraph.co.uk

The English Live performance, Wigextra Hall ★★★★★

With the Omicron variant wearking havoc and dangerous information All by way of, A mannequin new Yr tonic is sorely needed. On Photo voltaicday Evening time, the English Live performance provided it, with an all-Handel concert that positively glowed with rich ripe hum…….

The English Live performance, Wigextra Hall ★★★★★

With the Omicron variant wearking havoc and dangerous information All by way of, A mannequin new Yr tonic is sorely needed. On Photo voltaicday Evening time, the English Live performance provided it, with an all-Handel concert that positively glowed with rich ripe humanity.

As for these many Handel-despisers, the concert would have confirmed their suspicions that there are extra clichés in An night of Handel than in your common Eurovision Music Contest. Spherical and round they acquired here, these stately harmonic patterns main us irresistibly in circles again to the place we started. However, the placeas They might simply have sounded complacent, the English Live performance made them glow.

The orchestra’s chief Nadja Zwiener was particularly nice, flinging out the opening solo phrase of the Live performanceo Grosso in D with such large strain it felt like a triumphal arch in sound. The complete efficiency had An straightforward, tough magnificence, not over-reniced, so even the courtly swaying dance of The final movement had a relaxed, out-of-doorways extreme quality.

Then, on to that crowded Wigextra Hall stage, Full of prolonged-necked lute and two harpsichords As properly as To fifteen gamers, acquired here the Swiss soprano Chiara Skerath to sing an early sacred motet by Handel, Silete Venti (“Be Silent, Winds”). She was standing in at brief discover for Miah Persson, whom Many people had been Eager to Take heed to, however any sense of disappointment was stilled the second Skerath imperiously commanded these gusts, stopping the violin’s dashing notes lifeless Inside their tracks. Her voice might have been small and typically overwhelmed by the English Live performance’s sheer exuberance, However it was On A daily basis superbly focused, And she or he Delivered to life the transition Inside the textual content material from storminess to the bliss Of religion with fantastic artistry.

That piece definitely had its seconds of routine, Inside the music if not the efficiency. The early cantata Apollo e Dafne that rounded off the concert was on A particular diploma, as a Outcome of it had the dramatic factor needed To hearth Handel’s genius. He was clearly amused by the spectacle of the boastful Photo voltaic God being turned down by a mere nymph, making an try every thing from flattery to threats to win her over.

Baritone Jonathan McGovern had nice turning Apollo Proper into a cocky lad-about-metropolis, demonstrating his irresistibility to any passing nymph in some spectacular virtuoso passage-work. Chiara Skerath was having none of it, proclaiming the advantage of chaste independence in A youthful duet with flautist Lisa Beznosiuk Which will have been the night’s most stylish second. Pretty quickly, The two have been embroiled in a livid duet, Apollo on hearth with “love”, Dafne incandescent with rage, flinging out their speedy-hearth exmodifications with spectacular virtuosity.

Lastly acquired here the miraculous second when Dafne modifications Proper into a laurel To flee Apollo’…….

Source: https://www.telegraph.co.uk/music/classical-music/best-classical-concerts-review-january-2022/

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