Tafelmusik with Isabel Bayrakdarian
Jan. 16th, 2004 01:48 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
vaneramosDanny took me out on a wonderful date last evening. One of his co-workers had given him tickets to see a performance by Tafelmusik, Toronto's outstanding Baroque orchestra, at the impressive Trinity St. Paul's Centre.
I had never seen anything like this. I was raised on a solid 19th Century repertoire. My parents took me to see all kinds of performances, especially the Windsor Symphony, the Windsor Light Opera, and the National Ballet of Canada. I liked the walloping sound of a full Romantic orchestra, 80 or 100 pieces. I would barely listen to Bach, let alone Georg Philipp Telemann. When CBC Radio started airing performances by Tafelmusik, a new ensemble 25 years ago, I would switch to the Detroit station instead.
My taste for chamber music evolved later. First I fell in love with Borodin's String Quartet No. 2 and one of Schubert's Piano Trios. From there I moved onto Dvorak, Schumann and Brahms. I still haven't explored much further than that.
Last night's performance was a revelation: 19 musicians on a stage, eight violins, three violas, two cellos, one bass, two oboes, one bassoon, a harpsichord and one unknown contraption that looked like a giant lute but with a long neck (it was almost as tall as the bass, will someone help me out and tell me what this is called?). It felt more like I was watching a jazz ensemble, so vital was the interaction between the players, but apparently this is part of the unique quality of Tafelmusik that has made this orchestra so popular. Director Jeanne Lamon on first violin is a singularly warm and dynamic personage.
The first piece, Telemann's Suite for two oboes, bassoon and strings in A minor, would have been enough to convince me I need to become better acquainted with Baroque music.
Then the orchestra performed the Overture to Giulio Cesare in Egitto by Handel, and with that the soloist came onstage. Canadian soprano Isabel Bayrakdarian wore a shimmering orange robe designed after the style of the ancient Egyptians. She performed four arias plus an encore from different settings of Cleopatra, which apparently was a favourite theme of early 18th Century operas.
The first one was a show-stopper, "Tra le procelle assorto," by Carl Heinrich Graun. Her stellar coloratura was backed up by bright lyricism and a dramatic presence onstage. She seemed to genuinely enjoy herself and the accompanying musicians.
After intermission, she appeared in a different costume, a sleeveless orange dress glittering with sequins. Around her neck was a red choker with gold clasps in the form of viper's heads. In the final scene, "Mein Leben ist hin," by Johann Mattheson, she took this off her neck and dramatized Cleopatra's suicide. In the moments of the character's death, the strings play a venomous tremolo, an unusually literal device for Baroque music. Combined with Barakdarian's powerful performance, it made the hair stand up on the back of my neck.
For an encore she turned to the tender aria, "Gute Nacht" ("Goodnight"), from the same opera, accompanied gently by only cello, harpsichord and that bizarre lute. It's a beautiful song, which I kept expecting to break into "You are the promised kiss of springtime" (All the things you are).
At the concert we saw our friend Rod. Afterward the three of us trudged down Bloor Street to Futures Bakery for coffee and dessert.
For an evening like that I was happy to go out in the cold. It was even worth getting out bed. Of course, Danny is the first guy who has ever taken me on a date to see live orchestral music, so it was a pretty special night. I probably wouldn't have cared if the performance was less than outstanding quality, but it wasn't.
I had never seen anything like this. I was raised on a solid 19th Century repertoire. My parents took me to see all kinds of performances, especially the Windsor Symphony, the Windsor Light Opera, and the National Ballet of Canada. I liked the walloping sound of a full Romantic orchestra, 80 or 100 pieces. I would barely listen to Bach, let alone Georg Philipp Telemann. When CBC Radio started airing performances by Tafelmusik, a new ensemble 25 years ago, I would switch to the Detroit station instead.
My taste for chamber music evolved later. First I fell in love with Borodin's String Quartet No. 2 and one of Schubert's Piano Trios. From there I moved onto Dvorak, Schumann and Brahms. I still haven't explored much further than that.
Last night's performance was a revelation: 19 musicians on a stage, eight violins, three violas, two cellos, one bass, two oboes, one bassoon, a harpsichord and one unknown contraption that looked like a giant lute but with a long neck (it was almost as tall as the bass, will someone help me out and tell me what this is called?). It felt more like I was watching a jazz ensemble, so vital was the interaction between the players, but apparently this is part of the unique quality of Tafelmusik that has made this orchestra so popular. Director Jeanne Lamon on first violin is a singularly warm and dynamic personage.
The first piece, Telemann's Suite for two oboes, bassoon and strings in A minor, would have been enough to convince me I need to become better acquainted with Baroque music.
Then the orchestra performed the Overture to Giulio Cesare in Egitto by Handel, and with that the soloist came onstage. Canadian soprano Isabel Bayrakdarian wore a shimmering orange robe designed after the style of the ancient Egyptians. She performed four arias plus an encore from different settings of Cleopatra, which apparently was a favourite theme of early 18th Century operas.
The first one was a show-stopper, "Tra le procelle assorto," by Carl Heinrich Graun. Her stellar coloratura was backed up by bright lyricism and a dramatic presence onstage. She seemed to genuinely enjoy herself and the accompanying musicians.
After intermission, she appeared in a different costume, a sleeveless orange dress glittering with sequins. Around her neck was a red choker with gold clasps in the form of viper's heads. In the final scene, "Mein Leben ist hin," by Johann Mattheson, she took this off her neck and dramatized Cleopatra's suicide. In the moments of the character's death, the strings play a venomous tremolo, an unusually literal device for Baroque music. Combined with Barakdarian's powerful performance, it made the hair stand up on the back of my neck.
For an encore she turned to the tender aria, "Gute Nacht" ("Goodnight"), from the same opera, accompanied gently by only cello, harpsichord and that bizarre lute. It's a beautiful song, which I kept expecting to break into "You are the promised kiss of springtime" (All the things you are).
At the concert we saw our friend Rod. Afterward the three of us trudged down Bloor Street to Futures Bakery for coffee and dessert.
For an evening like that I was happy to go out in the cold. It was even worth getting out bed. Of course, Danny is the first guy who has ever taken me on a date to see live orchestral music, so it was a pretty special night. I probably wouldn't have cared if the performance was less than outstanding quality, but it wasn't.
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The Lute on Steroids
Date: 2004-01-16 12:10 pm (UTC)http://www.ellisium.cwc.net/theorbo.htm
These instruments were ideal for continuo playing, with their great bass range, and wide dark harmonic resonance.
I am glad you liked the concert. I esp like Telemann. His horn concierto (in F?) first movement is like falling naked from a high place.
Re: The Lute on Steroids
Date: 2004-01-16 12:18 pm (UTC)no subject
Date: 2004-01-16 12:54 pm (UTC)I'm a great fan of baroque music, Handel definitely but also Vivaldi. If you like string instruments the Romeros have recorded some Vivaldi concertos that you may enjoy. There's a lot more vitality in their renditions than in that of many others.
thanks for the Romero's link
Date: 2004-01-16 01:05 pm (UTC)They performed the Rodrigo Concierto Aranjuez, taking turns.
That week, I sold my Les Paul, and bought a classical guitar.
I am most fond of Renaissance and Early Music. With a special soft spot for the 16th C. Vihuela composers, like Muddara, Narvaez, etc.
Oddly enough, my next favorite musical period is 20th C.
Ranj
Re: thanks for the Romero's link
Date: 2004-01-16 01:11 pm (UTC)Some recordings...
Date: 2004-01-16 01:51 pm (UTC)I think that you might start with Hoppy Smith.
He is an odd bird, but I like his recordings.
But this page covers a nice selection.
I would start with Milan, Narvaez, and Muddara, in geographical order, it makes a difference in reconquista period spain, oddly enough (grin).
Listen to the Milan Pavannes, Narvaez Differencias .. las Vacas, Muddara's Fantasia...Ludovico as three great paradigms.
Re: Some recordings...
Date: 2004-01-16 02:32 pm (UTC)Re: Some recordings...
Date: 2004-01-16 07:20 pm (UTC)http://65.64.114.185/Personal/hobbypersonal/early_music.htm
Re: thanks for the Romero's link
Date: 2004-01-16 02:49 pm (UTC)Re: thanks for the Romero's link
Date: 2004-01-16 02:11 pm (UTC)no subject
Date: 2004-01-16 02:07 pm (UTC)no subject
Date: 2004-01-17 12:48 am (UTC)That seems to be the attitude a lot of people have to Vivaldi. :-) He's been loved to death. That's why I try to recommend the few recordings of him that show a bit of freshness. Nigel Kennedy playing the Four Seasons for instance is like listening to a whole new piece of music. Which is really a requirement these days when you hear FS in the supermarket. :-/
no subject
Date: 2004-01-17 08:03 pm (UTC)no subject
Date: 2004-01-16 01:00 pm (UTC)I should give you a table dance to go with your table music…
Really, though, ever since Mark Morris included Tafelmusik in his Dido and Aeneas, it's been a favorite of mine to watch.
no subject
Date: 2004-01-16 02:20 pm (UTC)no subject
Date: 2004-01-16 02:22 pm (UTC)*giggle*
no subject
Date: 2004-01-16 02:28 pm (UTC);-)
no subject
Date: 2004-01-16 02:35 pm (UTC)Mark Morris plays both Dido and the Sorceress in his Dido and Aeneas. Christine Van Loon did some very simple long black dresses for the entire company, and a skirt for Aeneas…
…Oh…
Silly Van!
*giggle*
no subject
Date: 2004-01-16 06:34 pm (UTC)no subject
Date: 2004-01-17 07:58 pm (UTC)