soulpope

So, here it goes. Wiener Konzerthaus Performers Hespèrion XXI, Ensemble Le Concert des Nations, Orchester La Capella Reial de Catalunya, Ensemble Hanna Bayodi-Hirt, Sopran Marianne Beate Kielland, Mezzosopran Pascal Bertin, Countertenor David Sagastume, Countertenor Nicholas Mulroy, Tenor Lluis Vilamajó, Tenor Daniele Carnovich, Bass Antonio Abete, Bass Jordi Savall, Leitung Program Bartholomäus Riedl Ist ein schöner Aufzug Ein langer und schöner Aufzug Heinrich Ignaz Franz Biber Plaudite tympana à 53 (1682)) Battalia à 10 (1673) Sonata Sancti Polycarpi à 9 (1673) Missa Salisburgensis à 53 (1682) Encore: Heinrich Ignaz Franz Biber Gloria (Missa Salisburgensis à 53) (1682) The hall was packed - mostly with retirees, but there were some youngish faces. I decided not to familiarize myself with the music beforehand, so it was all fresh for me. The instrumentalists were good, although from where I was sitting it seemed like horn players on the left and on the right (they were positioned in semi-circle on the balcony) were a bit out of sync - but it might be just due to my being positioned right upfront and to the side (this is what you get when you buy the tickets in the last moment). The music was good, but fairly predictable. There was an interesting moment in Riedl's piece (never even heard of Riedl, btw) that sounded really dissonant - gotta check out if this was intended or some performance fuck-up. The singers (there were 16) were excellent, female ones (two mezzos, two sopranos) in particular. One of the sopranos was on the last weeks of pregnancy, had to hold her belly when bowing. It is heroic that she managed to stand the whole concert. She was outstanding, which was a relief, since being positioned right next to her, she was whom mostly heard. I really enjoyed the (very few) polyphonic moments when the whole choir was singing - otherwise, these were mostly solos / duos. Pretty, but repetitive. I had my regular qualm with vocal choir music reinforced - the "s" sound (and "t" to a lesser extent) is so pronounced - particularly when the whole choir is singing, then it really sounds like a snake pit - it affects my enjoyment of the music. I should start a petition to ban the use of texts in favor of wordless (and consonant-less) vocalizing. Mandatory thundering applause (I still have to attend a concert in Vienna that would not end in 10-minute ovation, retirees are very polite here). And an encore from which I escaped. have been a (partially dedicated) follower of Jordi Savall and his projects for a couple of decades, but now being on hold for quite some time regarding his new recordings/concerts etc......IMO the spontaneity of his music (which had during the years 1980 to the early 2000`s at the same time an unbelievable precision) somehow got lost......don`t have an explanation ( probably being beleaguered with the additional economical responsibilty by going indipendent via Alia Vox...or the death of his wife Montserrat Figueras ?) for this impressions....... don`t get me wrong, the performance you`ve witnessed for sure was still a good one and a baroque music festival needs some well known "names" as headliners, but still would wish the organizers of "Resonanzen" in future would look for alternatives like for instance Sébastien Daucé & Ensemble Correspondances https://www.youtube.com/watch?v=QDD7tDMl64Q https://www.youtube.com/watch?v=uxgJX9IUAX8 just my 5 cent worth.... ps this ensemble`s recent Étienne Moulinié recording is excellent....

simply a good piano trio recording .....